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Cultura busca un pacto de Estado por las artes plásticas

Apr 012011

Forma un comité de sabios para definir el primer plan de apoyo al arte contemporáneo en medio de recortes presupuestarios y a un año del final de la legislatura

PEIO H. RIAÑO MADRID 31/03/2011 08:30 Publico.es

Por el camino de la utopía han quedado arrinconados muchos proyectos que trataron de aunar todos los colores políticos apelando a la responsabilidad común. Ayer, a las diez de la mañana empezaba una reunión, que se alargaría hasta el almuerzo en la dirección general de Bellas Artes y Bienes Culturales, que marcará los primeros pasos hacia un pacto de Estado por el apoyo a las artes visuales. Una vez la crisis económica ha subrayado la debilidad del modelo cultural español, el sector se sentó a la mesa presidida por Ángeles Albert para dar el pistoletazo de lo que ella misma anunció a este periódico el pasado 12 de febrero: “Se trata de la primera estrategia nacional como plan de apoyo a este sector”, dijo a falta de un año de legislatura la directora general de Bellas Artes y Bienes Culturales. Continue reading »

01/04/2011
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2011, art in culture, Culture, Daniel G Andujar, Ministerio de Cultura, reviews about Daniel G. Andújar

Arte, hacktivismo y subversión social en la web 2.0

Jul 192010

Daniel García Andujar

Ensayos

escrito por Miguel Angel Gaete.

17 de julio de 2010, Arte y Crítica

La obra del español Daniel García Andújar (Almoradí, 1966) se enmarca dentro de las nuevas prácticas artísticas tendientes a la descentralización de las estructuras de poder jerárquico presentes en la web y en los medios de información y opinión, así como en un ejercicio critico-creativo que aborda problemáticas inherentes a la multiculturalidad, indagando en distintos tópicos como el racismo, la discriminación social y la xenofobia.

En el planteamiento estético y conceptual de Andújar se conjugan una amplia gama de herramientas de trabajo, como el video, el diseño o el net art La utilización de estas herramientas con un fin crítico que cuestiona y subvierte su propio uso en nuestro medio hipertecnologizado, junto a la preeminencia colaborativa que define su obra, hace que su praxis fluctúe dentro de lo que en la actualidad se define ampliamente como art-hacktivismo . En este neologismo se advierte el quid de su obra: una imbricación entre el discurso político-social, las técnicas del hacker computacional y el arte, enlazándose con un movimiento que pretende desestabilizar el complejo juego de relaciones de poder emergidos junto con el desarrollo de los entornos virtuales y la proliferación de medios masivos de comunicación.

19/07/2010
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2010, Arte y Crítica, Article, Chile, Daniel G Andujar, Hacktivism, Miguel Angel Gaete, reviews about Daniel G. Andújar, Technologies To The People

Video Gallery

El artista multimedia y teórico del arte García Andújar impartió la conferencia “Estructuras de la imagen, hurgando el código” en el IED Madrid, dentro del Observatorio Cultural, un espacio creado por el Master of European Design Labs para examinar las derivas contemporáneas del mundo de la creación.
García Andújar (Almoradí, 1966) centra su trabajo en los campos del videoarte y el net.art, siendo uno de los creadores más críticos e irónicos del panorama artístico actual. Sus piezas son una invitación a reflexionar sobre el uso actual de los medios tecnológicos y de comunicación para desmontar el sistema de jerarquía dominante en éstos mediante la libre circulación de información, redes de cooperación y nuevos conceptos como el hacktivismo.

www.iedmadrid.com

Javier de la Cueva, Miguel Morey, Beatriz García i Daniel G. Andújar sobre el #15M – URGENT 2 #Plaça Pública from CCCB on Vimeo.

Daniel G. Andujar’s Projects from tttp on Vimeo.

Daniel García Andújar (Almoradí, 1966) is a visual media artist, activist and art theorist from Spain that lives and work in Barcelona. Andújar began his artistic activity in the late eighties, working mainly in the field of video, in projects of intervention in public spheres on the topics of racism and xenophobia, as well as the misuse of technology in surveillance systems. An artist who uses irony and presentation strategies that employ informational and communication technologies to question the democratic and equalitarian promises of these media and criticize the desire for control lying behind their apparent transparency. Most of his art projects are based on collaborative research that explores different political, historical, social and cultural phenomena and their media representations in a critical way: body politics, corruption, censorship, xenophobia, urban developments, the cultural industries, the inclusion and exclusion of technologies, the use of public space, etcetera. He created a fiction (Technologies To The People, 1996). 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. A long-time member of irational.org (international reference point for art on the web), He have tried to encourage different collectives projects on the Internet such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-sevilla.org, e-stuttgart.org, postcapital.org, e- madrid.org, etc. He has taught and directed numerous workshops for artists and social collectives in different countries.

Daniel G. Andújar / Technologies To The People Projects from tttp on Vimeo.

Nonetheless and in hindsight, it could be said that Daniel G. Andújar / Technologies To The People 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.

Postcapital Timeline (1989 – 2001) from tttp on Vimeo.

“Postcapital” revolves around the far-reaching changes having evolved worldwide in social, political, economic, and cultural realms over the last two decades, their watershed moments emblematized in the 1989 fall of the Berlin Wall and the attacks on September 11, 2001. Here, Andújar views the developments subsequent to the “fall of the Wall” not as aspects of postcommunism but rather of postcapitalism. Emerging here is the question as to what extent capitalist societies have changed in absence of their erstwhile counterparts and which new walls have been erected through the global politics following events of 1989 and 2001. Chronology
The expansive setting is framed by a voluminous frieze of images delineating a subjective chronology of events having taken place between 1989 and 2001. The first and last images are derived from an advertising campaign in a South African daily newspaper operating with the slogan “The world can change in a day.” One motif shows the Berlin Wall on November 8, 1989 and the other the square at New York’s World Trade Center on September 10, 2001.

Bòlit_Centre d’art contemporani Girona
La Comunitat inconfessable

presenta l’exposició “La Comunitat inconfessable”
comissariada per valentín Roma i amb la participació de:
Daniel G.Andújar (Technologies to the People),
Joan Vila-Puig i Elvira Pujol (Sitesize) i
Pedro G. Romero (Archivo F.X.).

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CV italiano

Daniel G. Andújar, 1996, Barcelona
www.danielandujar.org

Technologies To The People [Tecnologie al popolo] (TTTP) nasce nel 1996, come parte del progetto espositivo Discord. Sabotage of Realities [Dissenso. Sabotaggio delle realtà], realizzato presso la Kunstverein e la Kunsthaus di Amburgo. In principio si presentò come iniziativa virtuale finalizzata a fare avvicinare i progressi della tecnologia alle persone più svantaggiate, una sorta di associazione astratta che si occupava di riprodurre il linguaggio dissuasivo, i tic dell’identità e gli archetipi visivi legati alle società commerciali del settore digitale. Per definire il contesto in cui emerge TTTP, è importante fare riferimento all’esplosione che si stava preparando in quel periodo, allo stato embrionale, nell’universo delle tecnologie informatiche (IT); sorgevano infatti illusioni finanziarie – società quotate in borsa, iniziative rocambolesche o piattaforme senza definizione alcuna – le quali, pur acquisendo un incomprensibile protagonismo mediatico scomparivano come se non fossero mai esistite. Allo stesso tempo, e anche nella fase iniziale della rete, cominciarono a sorgere immaginari che idealizzavano in forma acritica un’ipotetica indipendenza e democratizzazione delle conoscenze che Internet avrebbe portato con sé, ma che poi, tuttavia, non si realizzò mai. Di conseguenza, TTTP si presenta come parodia nel doppio significato citato in precedenza, ovvero, come sconcertante rovescio della medaglia delle ipotetiche nefandezze delle società tecnologiche, ma anche come ironico contrappunto delle prediche degli apostoli della libertà digitale.

Ciò nonostante e se considerato in maniera retrospettiva, si potrebbe dire che durante il suo percorso, TTTP ha sviluppato quattro linee di attività più o meno distinte: una che si realizza intorno al lancio dei prodotti con cui l’associazione partecipa al mercato, ironizza sulla capacità produttiva della propria iniziativa e disegna strategie per collegarsi e creare empatia con gli ipotetici utenti. Nei progetti più importanti di questa sfera rientrano la Street Access Machine [Macchina di accesso alla strada] (1996), una macchina che permetteva a coloro che chiedevano l’elemosina per strada di accedere al denaro digitale; The Body Research Machine [La macchina di ricerca sul corpo] (1998), una galleria interattiva che scannerizzava le catene del DNA del corpo umano, elaborandole per esperimenti scientifici, infine l’x-devian by knoppix, un sistema operativo a codice aperto presentato come parte del progetto Individual Citizen Republic Project: El Sistema [Progetto di Repubblica del Cittadino Individuale: Il Sistema] (2003). Un altro percorso di lavoro è quello della riflessione critica impostata da TTTP sul mondo dell’arte attraverso la Fondazione Technologies to the People, con le sue collezioni di opere distribuite gratuitamente – Photo Collection [Collezione di foto] (1997), Video Collection [Collezione di video] (1998) e Net Art Classics Collection [Collezione di classici dell’arte in rete] (1999) – le quali, già in quel periodo, mettono in discussione l’idea di proprietà materiale e intellettuale. Una terza area concettuale è quella costituita dalla creazione delle cosiddette pagine “e-” (e-arco.org, e-manifesta.org, e-seoul.org, e-valencia.org, e-barcelona.org, e-sevilla.org, e-norte.org ed e-madrid.org, per fare alcuni esempi), che si sono trasformate in vere e proprie piattaforme di riflessione cittadina legate a un ambito culturale specifico e ad alcune problematiche molto concrete. Infine, tra le attività di TTTP vale la pena dedicare un’attenzione particolare alla costruzione del vasto Archivo Postcapital [Archivio postcapitale].

Exhibitions (Choice)

2009
-Postcapital (Mauer). Museum for Modern Art Bremen, Curated by: Anne Thurmann-Jejes. Germany
-Trapped in Amber. Angst for a Reenacted Decade. Postcapital (Honor). UKS, Oslo, Curated by: Helga-Marie Nordby, Bassam el Baroni. Norway
-Venice Bienal. Catalan Pavilion, with: Archivo F. X./Pedro G. Romero, sitesize; Curated by:
Valentín Roma. Italy
-Angel of History, Postcapital (copyright), Laboral , Curated by: Christiane Paul, Steve Dietz. Gijón. Spain
-Postcapital Archive (1989 – 2001), Iberia Art Center, Curated by: Valentín Roma. Beijing, China

2008
-Postcapital Archive (1989 – 2001), Württembergischer Kunstverein, Stuttgart, Curated by: Hans D. Christ and Iris Dressler
-Anna Kournikova Deleted By Memeright Trusted System – Art in the Age of Intellectual Property, Library. Postcapital Archive. Hartware MedienKunstVerein, PHOENIX Halle Dortmund, Curated by: Inke Arns and Francis Hunger. Germany
- La mediation du conflit/Mediating Conflict, Postcapital (Honor) Maison de La Culture, Montreal, Curated by: Sylvie Lacerte. Canada
-Muestra de Vídeo de Autores Españoles, MUA, Alicante, Curated by Aramis López, Spain
-Kosmotica II, e-paisaje.org. Centro de Cultura Contemporánea de Barcelona, Curated by: Juan Insua, David Casacuberta. Spain
- Herramientas del arte. Relecturas (Tools of Art: Re-readings), Parpalló, Valencia. With Rogelio López Cuenca and Isidoro Valcárcel Medina,, Curated by: Álvaro de los Ángeles. Spain
-Banquete_nodos y redes. LABoral Centro de Arte y Creación Industrial, Gijón, Curated by: Karin Ohlenschläger. Spain
-The Wonderful World of irational.org: Tools, Techniques and Events 1996-2006. Museum of Contemporary Art Vojvodina, Novi Sad. Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen). Serbia
-e-paisaje.org, Instituto Cervantes, New York City, Pekin
-InterACCIONES ELECTORALES, Off Limits, Madrid. Spain
-e-idensitat.org. Projecte idensitat, Local | Visitante 2: Manresa; Spain
- 2nd Biennial 01SJ Global Festival of Art on the Edge, Zero1. San Jose, California, Curated by Steve Dietz. USA
-Close Window. Refresh, Senko Studio in Viborg, Curated by: Annette Finnsdottir. Denmark
-‘Unrecorded’ exhibition questions space. Hacklandscape. akbank Gallery Istanbul. Curated Başak Şenova. Turkey

2007
- X-Devian. The New Technologies To The People™ System. Aarhus Kunstbygning – Center for Contemporary Art. Curated by: Jacob Lillemose, Denmark
-Extremos del sexto continente. I Bienal del Fin del Mundo. Ushuaia Curated by: Gustavo Romano. Argentina
-The Wonderful World of irational.org: Tools, Techniques and Events 1996-2006. CCA Glasgow. Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen).GB
-Pilot 3. VENICE 8-17 JUNE 2007, Monastery of St Damien and St Cosimo, La Giudecca, Venice
-Secret, Barcelona Toolbar, Matucana 100, Ciudad de Santiago de Chile, Curated by: Valentín Roma, Chile
-SINTOPÍAS, e-paisaje.org, Instituto Cervantes de Pekín, China

2006
-AYERMAÑANA, Facultad de Bellas Artes de Cuenca, Spain -404 Object not found_Seoul, Total Museum of Art, Seoul Curated by Natalie Boseul Shin, South Korea
-THE WONDERFUL WORLD OF IRATIONAL, Tools, Techniques and Events 1996-2006. Hartware MedienKunstVerein, PHOENIX Halle Dortmund. Curators: Inke Arns and Jacob Lillemose. Germany -HackLandscape. PhotoEspaña2006, Matadero Madrid, Curated by: Horacio Fernández. Spain

-Postcapital, With Carlos Garaicoa e Ivan de la Nuez, Palau de la Virreina, Barcelona, Spain
-e-sevilla.org. Centro de las Artes Sevilla, Curated by Pedro G. Romero, Spain

2005

-Nulles05, Contemporary Rural representations. Nulles, Spain -Cabanyal Portes Obertes, Valencia, Spain -Juego Doble: Mediactivismo y activismo en la red. With Fran Illich. Centro Cultural de España. Mexico DF. Mexico -MEDIASCAPES. Curated by: Montse Badia and Andreas Kaufmann, FUNDACIO LA CAIXA, Girona, Spain

-On Difference #1, 21. May – 31. July 2005, Württembergischer Kunstverein Stuttgart. Curateb by: Iris Dressler and Hans D. Christ, Stuttgart, Germany

-Pintar sense pintar. Centre d’Art la Panera. Lleida, Curated by: Spain

-Archive cultures: Representations. Monasterio de Nuestra Señora del Prado. Curated by Jorge Blasco. Valladolid, Spain

-MEDIASCAPES. Curated by: Montse Badia and Andreas Kaufmann, Fundacio la caixa, Tarragona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, Curated by: Johan Pijnappel, Liz Hughes, Hans D Christ. Tilman Baumgaertel. Seoul Museum of Art. Seoul. South Korea

_PROCESSOS_OBERTS_ Curated by: Manuel Olveira. Tarrassa, Barcelona Spain

-MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

-Ambulantes. PORTABLE CULTURE. Curated by: Rosa Pera Centro Andaluz de Arte Contemporaneo, Monasterio de la Cartuja de Santa María de Las Cuevas, Sevilla, Spain
-Tour-isms. The defeat of dissent, critical itineraries. Curated by Nuria Enguita, Jorge Luis Marzo, Montse Romani. Fundació Antoni Tàpies, Barcelona

WORKSHOP (like director -selection)
2007
-The Aesthetic Interface, Aarhus Kunstbygning
-el laboratorio de los medios, e-idensitat. Indensitat, Manresa, Mataró el laboratorio de los medios. Eina, Barcelona

2006
-DIT “Do It Together”, Activismo hacker y software libre, Centro Cultural Montehermoso. Vitoria-Gasteiz
-Construyendo e-sevilla.org. Centro Arte Sevilla, Spain

2005

-efimer.org. Arquitectura, art i espai efímer. UPC. Barcelona.

-PRÁCTICA ARTÍSTICA Y TECNOLOGÍAS DE INFORMACIÓN Y COMUNICACIÓN. Un encuentro teórico-práctico propuesto por Technologies To The People. Fundación Telefónica Argentina- Centro Cultural de España en Buenos Aires (CCEBA). Espacio Fundación Telefónica. Buenos Aires ARGENTINA.
-Prácticas de empoderamiento tecnológico. [reutilización de tecnología obsoleta y códigos abiertos para artistas]. Séptimas Jornadas de arte y medios digitales. Organizan: CCEC /L. Pagola/L. Benech//UNC / UBP / Esc de Artes UNC /. Cordoba. Argentina.
-Individual Citizen Republic Project .Centro Cultural de España. Mexico DF. Mexico e-Lab. Workshop, „On Difference #1: Lokale Kontexte – Hybride Räume“,Württembergischer Kunstverein Stuttgart, Stuttgart, Germany

-Technologies To The people: reutilización de ordenadores, Basurama05, La Casa Encendida, Madrid, Spain -Jornadas de Arte y Tecnología. Facultad de Bellas Artes de Valencia.

-The System, Workshop. Valencia Spain Public Space.Elisava Escola Universitaria. Barcelona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, e-seoul.org. Seoul.South Korea -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

-Los espacios INTER(medios).Inestabilidad, creación y cultura digital. Prácticas artísticas (desde la socialización de la tecnología). Facultad de Bellas Artes. Pontevedra, Spain

-RAM 6 workshop entitled “Social Interaction & Collective Intelligence” Vilnius, Lithuania

-“Heimatwechsel“ (Change of Home) International Student Workshop. Phoenix Halle Dortmund, Germany
-Open Space. Centro Andaluz de Arte Contemporaneo, Monasterio de la Cartuja de Santa María de Las Cuevas, Sevilla, Spain

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CV chinese

艺术家简介：丹尼埃尔·G·安杜哈(Daniel García Andújar)

1966年出生，现居住、工作于巴塞罗纳。

作为多媒体艺术家，他在80年代后期开始使用进行视频艺术创作。作为Irational.org (international reference point for art on the web）的成员之一，他在1996年开始了“人类技术”（TTTP）项目，在互联网、及实体媒介两方面发展（展览、装置、光盘…）。研究多种概念诸如模拟、真实性、版权、市场战略、媒介与力量间的关系、以及技术交流网络的全球化使用等等，此外还有在公共场所就种族歧视、排外等主题创作介入艺术，探讨监视系统技术的滥用……

艺术家作为Irational.org网站的长期成员和技术为人民的创办者，他创造了大量基于互联网的项目，比如art-net- dortmund，e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, Materiales de artista等。同时，他也在很多国家指导了大量面向艺术家和社会团体的工作坊。

他的作品及项目在西班牙国内外许多地方展出，其中包括：2006年PhotoEspaña（摄影西班牙）、2001年柏林国际跨媒体艺术节（Transmediale）、巴黎蓬皮杜中心、2000年香港微波国际新媒体艺术节、美国波特兰美术馆、1999年伦敦ICA当代艺术中心等

2009年他还将以“Postcapital. Archive 1989 – 2001”项目参加威尼斯双年展。

艺术家丹尼埃尔·加西亚·安杜哈的作品还曾被德国斯图加特符腾堡美术馆(Württembergischer Kunstverein Stuttgart))、阿里坎特大学美术馆(MUA, Museo de la Universidad de Alicante)、巴斯克当代艺术中央美术馆(ARTIUM, Centro-Museo Vasco de Arte Contemporáneo)、多特蒙德艺术馆(Kunstverein Dortmund)和莱里达帕尼罗艺术中心(Centro de Arte la Panera de Lleida)等重要艺术机构收藏。

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CV srpski

Danijel Garsija Anduhar (Daniel García Andújar)

*1966. Barcelona

Danijel Garsija Anduhar radi pod banerom Tehnologija narodu (Technologies to The People (TTTP), i istražuje virtuelnost, autentičnost, prava na umnožavanje, sponzorstvo, medije i moć kao novu tehnologiju, zajedno sa pitanjima ko ima pristup tome svemu, taj to i širi po svetu. Umesto da se preda kvalitetu novih tehnologija koji podseća na fetiš, TTTP se fokusira na iznikla bojna polja. Umesto potpunog odbijanja, TTTP ima pragmatsku funkcionalnost kada se uzme u obzir šta se sve može desiti, a naše mogućnosti za akciju u društvu utopljenom u brzu fundamentalnu promenu. Trenje u radu TTTP leži u očiglednoj slobodi interneta, znanju koje ono sadrži i ko, zapravo, poseduje i širi to znanje kao sredstvo za razvoj moći.

Exhibitions (Choice)

-Postcapital, With Carlos Garaicoa e Ivan de la Nuez, Palau de la Virreina, Barcelona, Spain
-e-sevilla.org. Centro de las Artes Sevilla, Curated by Pedro G. Romero, Spain

2005

-On Difference #1, 21. May – 31. July 2005, Württembergischer Kunstverein Stuttgart. Curateb by: Iris Dressler and Hans D. Christ, Stuttgart, Germany

-Pintar sense pintar. Centre d’Art la Panera. Lleida, Curated by: Spain

-Archive cultures: Representations. Monasterio de Nuestra Señora del Prado. Curated by Jorge Blasco. Valladolid, Spain

-MEDIASCAPES. Curated by: Montse Badia and Andreas Kaufmann, Fundacio la caixa, Tarragona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, Curated by: Johan Pijnappel, Liz Hughes, Hans D Christ. Tilman Baumgaertel. Seoul Museum of Art. Seoul. South Korea

_PROCESSOS_OBERTS_ Curated by: Manuel Olveira. Tarrassa, Barcelona Spain

-MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

2006
-DIT “Do It Together”, Activismo hacker y software libre, Centro Cultural Montehermoso. Vitoria-Gasteiz
-Construyendo e-sevilla.org. Centro Arte Sevilla, Spain

2005

-efimer.org. Arquitectura, art i espai efímer. UPC. Barcelona.

-Technologies To The people: reutilización de ordenadores, Basurama05, La Casa Encendida, Madrid, Spain -Jornadas de Arte y Tecnología. Facultad de Bellas Artes de Valencia.

-The System, Workshop. Valencia Spain Public Space.Elisava Escola Universitaria. Barcelona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, e-seoul.org. Seoul.South Korea -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

-Los espacios INTER(medios).Inestabilidad, creación y cultura digital. Prácticas artísticas (desde la socialización de la tecnología). Facultad de Bellas Artes. Pontevedra, Spain

-RAM 6 workshop entitled “Social Interaction & Collective Intelligence” Vilnius, Lithuania

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CV français

Daniel G. Andújar

né en 1966 à Almoradí (Espagne), vit et travaille à Barcelone.

Artiste ayant recours à l’ironie et à différentes stratégies de présentation, Daniel G. Andújar utilise les nouvelles technologies de la communication afin de s’interroger sur les promesses de démocratie et d’égalitarisme que font miroiter ces médias. Andújar critique également le désir de contrôle inhérent, à ces médias, qu’ils dissimulent derrière leur supposée transparence. Prenant appui sur le fait que les technologies de l’information et de la communication transforment notre quotidien, Andújar a créé une fiction (technologies to the people, 1996) conçue pour nous sensibiliser à la réalité environnante et nous faire prendre conscience de la supercherie découlant de la promesse d’un choix libre, irrémédiablement convertie en nouvelles formes de contrôle et d’inégalités. Membre de irational.org (point de référence international pour l’art sur le Web), il est le concepteur de nombreux projets pour l’internet, tels que art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-wac.org, e-sevilla.org, Materiales de artista, etc. Il a également dirigé plusieurs ateliers offerts à des artistes et des collectifs dans différents pays.

Exhibitions (Choice)

-Postcapital, With Carlos Garaicoa e Ivan de la Nuez, Palau de la Virreina, Barcelona, Spain
-e-sevilla.org. Centro de las Artes Sevilla, Curated by Pedro G. Romero, Spain

2005

-On Difference #1, 21. May – 31. July 2005, Württembergischer Kunstverein Stuttgart. Curateb by: Iris Dressler and Hans D. Christ, Stuttgart, Germany

-Pintar sense pintar. Centre d’Art la Panera. Lleida, Curated by: Spain

-Archive cultures: Representations. Monasterio de Nuestra Señora del Prado. Curated by Jorge Blasco. Valladolid, Spain

-MEDIASCAPES. Curated by: Montse Badia and Andreas Kaufmann, Fundacio la caixa, Tarragona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, Curated by: Johan Pijnappel, Liz Hughes, Hans D Christ. Tilman Baumgaertel. Seoul Museum of Art. Seoul. South Korea

_PROCESSOS_OBERTS_ Curated by: Manuel Olveira. Tarrassa, Barcelona Spain

-MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

2006
-DIT “Do It Together”, Activismo hacker y software libre, Centro Cultural Montehermoso. Vitoria-Gasteiz
-Construyendo e-sevilla.org. Centro Arte Sevilla, Spain

2005

-efimer.org. Arquitectura, art i espai efímer. UPC. Barcelona.

-Technologies To The people: reutilización de ordenadores, Basurama05, La Casa Encendida, Madrid, Spain -Jornadas de Arte y Tecnología. Facultad de Bellas Artes de Valencia.

-The System, Workshop. Valencia Spain Public Space.Elisava Escola Universitaria. Barcelona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, e-seoul.org. Seoul.South Korea -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

-Los espacios INTER(medios).Inestabilidad, creación y cultura digital. Prácticas artísticas (desde la socialización de la tecnología). Facultad de Bellas Artes. Pontevedra, Spain

-RAM 6 workshop entitled “Social Interaction & Collective Intelligence” Vilnius, Lithuania

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CV deutsch

Künstler, *1966 in Almoradí, lebt in Barcelona

Daniel García Andújar lotet in seinen Arbeiten – Installationen, Videos, Workshops oder Netzprojekte – die neuen Kommunikationstechnologien im Hinblick auf ihre demokratischen und emanzipatorischen Versprechungen aus. Auf kritische Weise setzt er sich dabei mit den Kontrollmechanismen, die sich hinter ihren transparenten Strukturen verbergen, auseinander. „Hack the System“ ist dabei eine Strategie, die er nicht nur im Hinblick auf digitale Kommunikationssysteme, sondern auch auf Institutionen, politische, kulturelle oder ökonomische Machtverhältnisse anwendet. Dabei geht es sowohl um die kritische Analyse oder ironische Freilegung dieser Verhältnisse als auch um die Erprobung kollaborativer und unabhängiger Formen der Kunst- und Wissensproduktion. Mit seinen diversen e-Projekten (e-valencia, e-barcelona, e-sevilla, etc.) hat er lokal verankerte kulturpolitische Internetforen zur Etablierung von Gegenöffentlichkeiten geschaffen. Plattform seiner Arbeit ist das von ihm 1996 gegründete fiktive Unternehmen „Technologies To The People“.

Ausstellungen (Auswahl)

2010
-BARCELONA – VALÈNCIA – PALMA. A History of Confluence and Divergence. Objects of desire. Centre de Cultura Contemporània de Barcelona. Curated by Ignasi Aballí, Melcior Comes and Vicent Sanchis
- Postcapital Archive (1989 – 2001) . Total Museum of Contemporary Art, Seoul. Curated by Nathalie Boseul Shin and Hans D. Christ -South Korea
-Postkapital Arşiv 1989-2001 (1989-2001). OPAL Contemporary Art Space. Curated by Basak Senova. Istanbul – Turkey
-Presupuesto: 6 euros. Prácticas artísticas y precariedad-Curated by Cabello/Carceller, Off Limits Madrid.
-Postcapital Archive (1989-2001) La comunidad inconfesable, Bòlit, Centre d’Art Contemporani, Girona. Curated by Valentín Roma
-The Wall. Postcapital Archive (1989-2001), Espai Visor, Valencia
-Videoarte hecho en España.Centro de Arte Complutense Curated by Aramis López. Madrid

2009
-Postcapital (Mauer). Museum for Modern Art Bremen, Curated by: Anne Thurmann-Jejes. Germany
-Trapped in Amber. Angst for a Reenacted Decade. Postcapital (Honor). UKS, Oslo, Curated by: Helga-Marie Nordby, Bassam el Baroni. Norway
-Venice Bienal. Catalan Pavilion, with: Archivo F. X./Pedro G. Romero, sitesize; Curated by:Valentín Roma. Italy
-Angel of History, Postcapital (copyright), Laboral , Curated by: Christiane Paul, Steve Dietz. Gijón. Spain
-Postcapital Archive (1989 – 2001), Iberia Arte Center, Curated by: Valentín Roma. Beijing

-Postcapital, With Carlos Garaicoa e Ivan de la Nuez, Palau de la Virreina, Barcelona, Spain
-e-sevilla.org. Centro de las Artes Sevilla, Curated by Pedro G. Romero, Spain

2005

-On Difference #1, 21. May – 31. July 2005, Württembergischer Kunstverein Stuttgart. Curateb by: Iris Dressler and Hans D. Christ, Stuttgart, Germany

-Pintar sense pintar. Centre d’Art la Panera. Lleida, Curated by: Spain

-Archive cultures: Representations. Monasterio de Nuestra Señora del Prado. Curated by Jorge Blasco. Valladolid, Spain

-MEDIASCAPES. Curated by: Montse Badia and Andreas Kaufmann, Fundacio la caixa, Tarragona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, Curated by: Johan Pijnappel, Liz Hughes, Hans D Christ. Tilman Baumgaertel. Seoul Museum of Art. Seoul. South Korea

_PROCESSOS_OBERTS_ Curated by: Manuel Olveira. Tarrassa, Barcelona Spain

-MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

WORKSHOP (wie Regisseur-Auswahl)
2007
-The Aesthetic Interface, Aarhus Kunstbygning
-el laboratorio de los medios, e-idensitat. Indensitat, Manresa, Mataró el laboratorio de los medios. Eina, Barcelona

2006
-DIT “Do It Together”, Activismo hacker y software libre, Centro Cultural Montehermoso. Vitoria-Gasteiz
-Construyendo e-sevilla.org. Centro Arte Sevilla, Spain

2005

-efimer.org. Arquitectura, art i espai efímer. UPC. Barcelona.

-Technologies To The people: reutilización de ordenadores, Basurama05, La Casa Encendida, Madrid, Spain -Jornadas de Arte y Tecnología. Facultad de Bellas Artes de Valencia.

-The System, Workshop. Valencia Spain Public Space.Elisava Escola Universitaria. Barcelona, Spain

2004

-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, e-seoul.org. Seoul.South Korea -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain

-Los espacios INTER(medios).Inestabilidad, creación y cultura digital. Prácticas artísticas (desde la socialización de la tecnología). Facultad de Bellas Artes. Pontevedra, Spain

-RAM 6 workshop entitled “Social Interaction & Collective Intelligence” Vilnius, Lithuania

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CV català

Daniel G. Andújar

(Almoradí, 1966), Viu a Barcelona.
www.danielandujar.org

Technologies To The People (TTTP) neix el 1996 dins del projecte expositiu Discord. Sabotage of Realities, que va tenir lloc lloc a la Kunstverein i a la Kunsthaus d’Hamburg. En un principi, es presentava com una empresa virtual dedicada a apropar els avenços de la tecnologia als més desfavorits, una mena de corporació imprecisa que reproduïa el llenguatge dissuasori, els tics d’identitat i els arquetipus visuals associats a les companyies comercials de l’àmbit digital. Cal que ens referim, com a definició del context en què sorgeix TTTP, a certa explosió que en aquells moments i de forma incipient s’estava produint dins de l’univers de les tecnologies de la informació, on sorgien miratges financers –empreses amb cotitzacions borsàries, iniciatives rocambolesques o plataformes sense cap tipus de definició– que, després d’adquirir un incomprensible protagonisme mediàtic, desapareixien com si mai no haguessin existit. Al mateix temps, i també en aquest període inicial de la xarxa, van començar a generar-se imaginaris que idealitzaven de forma acrítica una suposada independència i democratització del coneixement que Internet havia de comportar, però que, finalment, mai no va acabar d’arribar. Així doncs, TTTP apareix com a revers desconcertant de les maldats hipotètiques de les corporacions tecnològiques i, també, com a contrapunt irònic de les peroracions dels apòstols de la llibertat digital.

No obstant això, i vist en retrospectiva, es podria dir que TTTP ha desenvolupat, al llarg de la seva trajectòria, quatre línies d’actuació més o menys diferents: l’una, conformada al voltant del llançament de diversos productes amb què la corporació s’introdueix al mercat, ironitza sobre la capacitat productiva de l’empresa mateixa i dissenya estratègies per vincular-se i empatitzar amb els hipotètics usuaris. D’entre els projectes més destacats d’aquest camp, hi hauria la Street Access Machine (1996), una màquina que permetia accedir a diners digitals als pidolaires del carrer; TheBody Research Machine (1998), un corredor interactiu que escanejava les cadenes d’ADN del cos, processant-les per a experiments científics; i l’x-devian by knoppix, un sistema operatiu de codi obert presentat com a part del projecte individual Citizen Republic Project: El Sistema (2003). Una altra via de treball seria la reflexió crítica que TTTP planteja sobre el món de l’art a través de les Technologies to the People Foundation, amb les seves col·leccions d’obres distribuïdes gratuïtament –Photo Collection (1997), Video Collection (1998) i Net Art Classics Collection (1999), que en aquella època ja qüestionaven la idea de propietat material i intel·lectual. Una tercera àrea conceptual la constituiria la creació de les anomenades pàgines blanques e- (e-arco.org, e-manifesta.org, e-seoul.org, e-valencia.org, e-barcelona.org, e-sevilla.org, e-norte.org i e-madrid.org, entre d’altres), que han esdevingut veritables plataformes de reflexió ciutadana vinculades a un àmbit cultural específic i a unes problemàtiques molt concretes. Finalment, convé destacar, entre les activitats de TTTP, la construcció del vast Archivo Postcapital.

Exposicions (Elecció)

2010
-Postcapital Archive (1989-2001) La comunidad inconfesable, Bòlit, Centre d’Art Contemporani, Girona. Comisariat per Valentín Roma
-The Wall. Postcapital Archive (1989-2001), Espai Visor, Valencia

2009
-Postcapital (Mauer). Museum for Modern Art Bremen, Comisariat per: Anne Thurmann-Jejes. Alemanya
-Trapped in Amber. Angst for a Reenacted Decade. Postcapital (Honor). UKS, Oslo, Comisariat per: Helga-Marie Nordby, Bassam el Baroni. Noruega
-Pavelló de Catalunya a la 53a Biennal d’Arts Visuals de Venècia 2009: Daniel G Andújar, Archivo F. X./Pedro G. Romero, sitesize; Comisariat per: Valentín Roma. Italia
-Angel of History, Postcapital (copyright), Laboral , Comisariat per: Christiane Paul, Steve Dietz. Gijón. Espanya
-Postcapital Archive (1989 – 2001), Iberia Aret Center, Comisariat per: Valentín Roma. Fuenlabrada, Beijing

2008
-Postcapital Archive (1989 – 2001), Württembergischer Kunstverein, Stuttgart, Comisariat per: Hans D. Christ and Iris Dressler, Alemanya
-Anna Kournikova Deleted By Memeright Trusted System – Art in the Age of Intellectual Property, Library. Postcapital Archive. Hartware MedienKunstVerein, PHOENIX Halle Dortmund, Comisariat per: Inke Arns and Francis Hunger. Alemanya
- La mediation du conflit/Mediating Conflict, Postcapital (Honor) Maison de La Culture, Montreal, Comisariat per: Sylvie Lacerte. Canada
-Muestra de Vídeo de Autores Españoles, MUA, Alicante, Curated by Aramis López, Espanya
-Kosmotica II, e-paisaje.org. Centro de Cultura Contemporánea de Barcelona, Comisariat per: Juan Insua, David Casacuberta. Espanya
- Herramientas del arte. Relecturas (Tools of Art: Re-readings), Parpalló, Valencia. With Rogelio López Cuenca and Isidoro Valcárcel Medina,, Comisariat per: Álvaro de los Ángeles. Espanya
-Banquete_nodos y redes. LABoral Centro de Arte y Creación Industrial, Gijón, Comisariat per: Karin Ohlenschläger. Espanya
-The Wonderful World of irational.org: Tools, Techniques and Events 1996-2006. Museum of Contemporary Art Vojvodina, Novi Sad. Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen). Serbia
-e-paisaje.org, Instituto Cervantes, New York City, Pekin
-InterACCIONES ELECTORALES, Off Limits, Madrid. Espanya
-e-idensitat.org. Projecte idensitat, Local | Visitante 2: Manresa; Espanya
- 2nd Biennial 01SJ Global Festival of Art on the Edge, Zero1. San Jose, California, Curated by Steve Dietz. USA
-Close Window. Refresh, Senko Studio in Viborg, Comisariat per: Annette Finnsdottir. Dinamarca
-‘Unrecorded’ exhibition questions space. Hacklandscape. akbank Gallery Istanbul. Curated Başak Şenova. Turkía

2007
- X-Devian. The New Technologies To The People™ System. Aarhus Kunstbygning – Center for Contemporary Art. Comisariat per: Jacob Lillemose, Dinamarca
-Extremos del sexto continente. I Bienal del Fin del Mundo. Ushuaia Comisariat per: Gustavo Romano. Argentina
-The Wonderful World of irational.org: Tools, Techniques and Events 1996-2006. CCA Glasgow. Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen).GB
-Pilot 3. VENICE 8-17 JUNE 2007, Monastery of St Damien and St Cosimo, La Giudecca, Venecia, Italia
-Secret, Barcelona Toolbar, Matucana 100, Ciudad de Santiago de Chile, Comisariat per: Valentín Roma, Chile
-SINTOPÍAS, e-paisaje.org, Instituto Cervantes de Pekín, China

2006
-AYERMAÑANA, Facultad de Bellas Artes de Cuenca, Espanya -404 Object not found_Seoul, Total Museum of Art, Seoul Curated by Natalie Boseul Shin, Corea del Sur
-THE WONDERFUL WORLD OF IRATIONAL, Tools, Techniques and Events 1996-2006. Hartware MedienKunstVerein, PHOENIX Halle Dortmund. Curators: Inke Arns and Jacob Lillemose. Alemanya
-HackLandscape. PhotoEspanya 2006, Matadero Madrid, Comisariat per: Horacio Fernández. Espanya
-Postcapital, With Carlos Garaicoa e Ivan de la Nuez, Palau de la Virreina, Barcelona, Espanya
-e-sevilla.org. Centro de las Artes Sevilla, Curated by Pedro G. Romero, Espanya

2005
-Nulles05, Contemporary Rural representations. Nulles, Espanya -Cabanyal Portes Obertes, Valencia, Espanya -Juego Doble: Mediactivismo y activismo en la red. With Fran Illich. Centro Cultural de Espanya . Mexico DF. Mexico -MEDIASCAPES. Comisariat per: Montse Badia and Andreas Kaufmann, FUNDACIO LA CAIXA, Girona, Espanya
-On Difference #1, 21. May – 31. July 2005, Württembergischer Kunstverein Stuttgart. Curateb by: Iris Dressler and Hans D. Christ, Stuttgart, Alemanya
-Pintar sense pintar. Centre d’Art la Panera. Lleida, Comisariat per: Espanya
-Archive cultures: Representations. Monasterio de Nuestra Señora del Prado. Curated by Jorge Blasco. Valladolid, Espanya
-MEDIASCAPES. Comisariat per: Montse Badia and Andreas Kaufmann, Fundacio la caixa, Tarragona, Espanya

2004
-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, Comisariat per: Johan Pijnappel, Liz Hughes, Hans D Christ. Tilman Baumgaertel. Seoul Museum of Art. Seoul. South Korea
_PROCESSOS_OBERTS_ Comisariat per: Manuel Olveira. Tarrassa, Barcelona Espanya -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Espanya
-Ambulantes. PORTABLE CULTURE. Comisariat per: Rosa Pera Centro Andaluz de Arte Contemporaneo, Monasterio de la Cartuja de Santa María de Las Cuevas, Sevilla, Espanya
-Tour-ismos. The defeat of dissent, critical itineraries. Comisariat per: Nuria Enguita, Jorge Luis Marzo, Montse Romani. Fundació Antoni Tàpies, Barcelona

WORKSHOP (com director -selecció)

2007
-The Aesthetic Interface, Aarhus Kunstbygning
-el laboratorio de los medios, e-idensitat. Indensitat, Manresa, Mataró el laboratorio de los medios. Eina, Barcelona

2006
-DIT “Do It Together”, Activismo hacker y software libre, Centro Cultural Montehermoso. Vitoria-Gasteiz
-Construyendo e-sevilla.org. Centro Arte Sevilla, Espanya

2005
-efimer.org. Arquitectura, art i espai efímer. UPC. Barcelona.
-PRÁCTICA ARTÍSTICA Y TECNOLOGÍAS DE INFORMACIÓN Y COMUNICACIÓN. Un encuentro teórico-práctico propuesto por Technologies To The People. Fundación Telefónica Argentina- Centro Cultural de Espanya en Buenos Aires (CCEBA). Espacio Fundación Telefónica. Buenos Aires ARGENTINA.
-Prácticas de empoderamiento tecnológico. [reutilización de tecnología obsoleta y códigos abiertos para artistas]. Séptimas Jornadas de arte y medios digitales. Organizan: CCEC /L. Pagola/L. Benech//UNC / UBP / Esc de Artes UNC /. Cordoba. Argentina.
-Individual Citizen Republic Project .Centro Cultural de Espanya . Mexico DF. Mexico e-Lab. Workshop, „On Difference #1: Lokale Kontexte – Hybride Räume“,Württembergischer Kunstverein Stuttgart, Stuttgart, Alemanya
-Technologies To The people: reutilización de ordenadores, Basurama05, La Casa Encendida, Madrid, Espanya -Jornadas de Arte y Tecnología. Facultad de Bellas Artes de Valencia.
-The System, Workshop. Valencia Espanya Public Space.Elisava Escola Universitaria. Barcelona, Espanya

2004
-media_city seoul 2004. The 3rd Seoul International Media Art Biennale, e-seoul.org. Seoul.South Korea -MEDIASCAPES. Curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Espanya
-Los espacios INTER(medios).Inestabilidad, creación y cultura digital. Prácticas artísticas (desde la socialización de la tecnología). Facultad de Bellas Artes. Pontevedra, Espanya
-RAM 6 workshop entitled “Social Interaction & Collective Intelligence” Vilnius, Lithuania
-“Heimatwechsel“ (Change of Home) International Student Workshop. Phoenix Halle Dortmund, Alemanya
-Open Space. Centro Andaluz de Arte Contemporaneo, Monasterio de la Cartuja de Santa María de Las Cuevas, Sevilla, Espanya

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Gallery/Galería

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. Iberia Art Center. Beijing

“后资本文献1989-2001”展开幕 Iberia 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