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Cacotopía. FOKUS’12 | Nikolaj Kunsthal. Copenhagen

FOKUS FESTIVAL
Screen from Barcelona has been invited to participate at FOKUS Video Art Festival 2012, the second edition of the festival initiated by Nikolaj Kunsthal in Copenhagen 2012.

Cacotopía (Daniel G. Andujar and Avelino Sala)2011. 23m 45 s. from avelino sala on Vimeo.

On this ocasion SFB has curated a programme that reflects on the different modes and strategies of production. We believe that these are key issues of interest to artists, institutions and agents involved in the creative cultural field, enabling the collective discussion in the frame of FOKUS Festival. Furthermore, the selection will allow us to map out our network methodology and explain our premises as a platform and a festival.

On another hand and beyond the strand of production, the pieces also share affinities in that they all portray a series of heterotopias, in the sense described by M. Foucault: they explore landscapes and places which encapsulate an strong “other” imaginaries, different from what they appear to be, and are situated at the heart of society –be this symbolical, historical or physical- but constitute its margins, its limits. It is in a way an attempt to trace a spectral geography of histories blurred by official narratives, the suspended time of the prison, the remnants of the spectacle, and the dystopias of the metropolis

SCREENING PROGRAMME

Uriel Orlow, Holy Precursor (2011), 14’ 13’’
Co-produced by the artist and Galerie Campagne Première Berlin, Utopiana, Yerevan/Geneva and Anadolü Kültür, Istanbul
LOOP ’11 Award

Daniel G. Andújar + Avelino Sala, Cacotopía (2011), 22’
Produced by Screen from Barcelona and the artists (Barcelona, Spain).

Mohammed Bourouissa, Temps Mort (2009),14’
Produced by Le Fresnoy, Studio National des Arts Contemporains (Tourcoing, France).

Cooperativa General Humana, The Aura of Things (2011), 5’ 30’’
Produced by Hangar (Barcelona, Spain).

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DYSTOPIA + IDENTITY IN THE AGE OF GLOBAL COMMUNICATIONS

DYSTOPIA. CURATED BY CRISTINE WANG (CURATOR, NEW MEDIA ARTS)

MACHINES WILL LEAD TO A NEW ORDER BOTH OF WORK AND OF LEISURE”

[Le Corbusier, Vers une Architecture (1923)]

Artists at the beginning of the 20th century sought towork in hybrid forms, as a socially-oriented movement, anutopian vision which embodied the idealism of a neworder, believing itself capable of changing, reforming,reordering–totally changing all aspects of human life.They embraced the notion of the all-encompassing role ofart: the profound belief in the ability of art to effectchange.

Almost one hundred years later, into the new millenium,we have seen the effects of this utopian vision: thefailure of modernism and its various permutations on aglobal basis.

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