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“Vivimos en un caos de información”

«Estamos en una especie de rizoma en el que todos nos vigilamos a todos»

14.03.2015 | 04:15

"Vivimos en un caos de información"

“Vivimos en un caos de información”

Mezcla en el Reina Sofía la realidad y la ficción en «Sistema Operativo» «Para mí un ‘hacker’ es un sabio de la tecnología que se infiltra en el sistema engañándolo», afirma el artista que abandonó Valencia tras la polémica por su portal de anónimos

Natalia Vaquero | madrid/epipress Levante EMV

La provincia Diario Las Palmas Diario de Mallorca La Nueva España

Las nuevas tecnologías comprometen el futuro de los más jóvenes que vuelcan descontroladamente sus vidas en las redes sociales sin ser conscientes de que se desnudan ante compañías que utilizarán esa información como más les convenga, alerta Daniel G. Andújar (Almoradí, Alicante, 1966), uno de los grandes del arte en la red o artista visual, como le gusta autodefinirse, que dibuja una inquietante realidad en la que todos somos vigilantes y vigilados. Andújar triunfa con su desconcertante obra en medio mundo y muestra ahora su Sistema Operativo en el Museo Reina Sofía de Madrid hasta el próximo 4 de mayo. Autodidacta sin complejos, abandonó Valencia tras molestar a las autoridades con anónimos que colgaba en un portal digital y desde entonces se vuelca en desenmascarar a través de la ironía las falsas promesas de libertad prometidas por Internet.

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Entrevista Daniel G. Andújar

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.

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La Malla. Tendències: Anem a l’estudi de Daniel G. Andújar

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.

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L’arxivista de les ciutats del futur

Público/Públic Perfil

Lucia Lijtmaer, dijous 19 d’agost deL 2010

12 ( 01 ) (PUBLICO – CAT 19082010) FOTOS BAJA – PUBLI BAJA

L’artista Daniel García Andújar analitza els efectes de la digitalització en la manera de percebre la realitat

L’artista Daniel García Andújar em cita al seu estudi, un espai diàfan, clar i tranquil al carrer Bergara, on es respira producció per totes les cantonades. Un parell de col·laboradors treballen en silenci mentre García Andújar em mostra fullets i llibres dels seus últims projectes. Bremen, Seül, Noruega i el pavelló català de la Biennal de Venècia figuren en el seu impressionant currículum només de l’últim any.

L’últim treball de García Andújar, Objetos de deseo, presentat a l’exposició col·lectiva Barcelona-València-Palma, ha tingut molta repercussió. L’artista mostra, entre altres peces, un palauet-maqueta de la casa de Fèlix Millet fet amb bitllets de 100 i 500 euros, o l’escombreta del vàter del palauet de Jaume Matas. “Mai saps quin serà el nivell d’interpretació de la gent, perquè l’art sembla con- tenir un llenguatge molt específic de l’obra”, diu, una mica sorprès davant la reacció de la premsa. “En el fons es tracta d’una reflexió entorn a la vida i a la riquesa. La meva intenció era retratar com Espanya va passar a formar part d’un club de nous rics i com un clan de corruptes roba per coses molt superficials, la qual cosa és gairebé còmica”, apunta.

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Prácticas artísticas de intervención. Entrevista con Daniel G. Andújar. ALICIA MURRÍA


ARTECONTEXTO+N25

Con el título La exposición: nuevas prácticas, viejos contenedores el dossier de nuestro primer número del año reflexiona –a través de las firmas de José Manuel Costa, Christiane Paul, Juan Antonio Álvarez Reyes y Mónica Núñez Luis– sobre las exigencias de las nuevas formulaciones artísticas y su difícil encaje en modelos expositivos y estructuras museales que se sustentan en esquemas tradicionales tanto en lo funcional como en lo ideológico, más allá de que su arquitectura adopte fórmulas novedosas. Mientras, Daniel G. Andújar, en una entrevista con Alicia Murría, analiza el panorama que han abierto las tecnologías señalando la responsabilidad del artista ante estos cambios.

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Ways of Working. Iris Dressler vs Daniel G. Andújar

Corversation

The Unavowable Community

Iris Dressler: In one of our recent conversations, you described how the machinery of the bigger art institutions alienates the artists from their work to a certain extent. You put it more or less in the following way: the artist, arriving at the museum to install his or her works, is sent to luxury hotels, restaurants and bars, while an armada of professionals—technicians, restorers, architects, designers, coordinators, assistants and so forth—care for the ‘proper’ presentation and communication of his of her work, following the standards of the respective institution. This is not to mention that at this moment the curator and the PR and education departments have long since defined—again in line with the conventions of the respective house—the ways of mediating the artist’s works. The artist, finally arriving at the ‘ready-to-go’ exhibition, might be shocked, as he or she no longer recognises his or her work the way it is embodied in and absorbed by the corporate setting. But it is too late: the press, board, VIPs and the like are already standing by. These attitudes and workflows of the institutional machinery are of course not a new phenomenon if you just remember the cartoon-like diagram Average Day at the Museum by the MoMA from the 1940s. But it seems that until now museums in particular are largely ignoring over 40 years of ongoing and quite diverse practices as well as discourses of institutional critique. They instead basically submit themselves far too voluntarily to almost phantasmal political pressures regarding the museum’s city marketing and tourist impact, fixating on irrational growth in visitor numbers and pulling in lucrative and glamorous private corporations. In my view, these politically indoctrinated ‘missions’ of the museum (which go hand in hand with corporate demands) have nothing to do—as is often claimed—with the financial needs of museum maintenance. They are solely about putting the museum on a prestigious stage for business and politics. By this logic, the artist seems to be a sort of alien, a disruptive factor that needs to be sedated to fit in with the museum’s rhetoric.

Daniel G. Andújar: Artistic practice, as I conceive it, must be transformed into a form of ‘resistance’ against a model obstinately aimed at prevailing in a space of relations that is becoming more and more confused, normalised, globalised, hierarchical, diffused, standardised and so on. Our society, economy and culture are founded upon interests, values, institutions, and systems of representation that, in general terms, limit creativity, confiscate and manipulate the artist’s work and divert his energy toward sterile confrontation and discouragement.

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Herramientas del arte. Relecturas [Tools of Art. Rereadings]. Corversation with Álvaro de los Ángeles

The following conversation is another way of presenting a few of the issues that this project wishes to analyse. It is a virtual dialogue-in-progress between Álvaro de los Ángeles and Daniel G. Andújar, written in the places and moments when it was possible to do so. Many of the ideas that were developed, however, were expressed when G. Andújar was in Valencia carrying out a workshop together with Rogelio López Cuenca. Themes such as the social commitment of contemporary artists, their roles within the socio-cultural and socio-political framework, the real possibilities and tactics of survival and the creation of new ways of understanding their trade in a society undergoing continual change, are side by side with elements which come from the very title of the project: What tools do artists today have at their disposal? Where or against what should the rereadings resulting from their actions be addressed?

Álvaro de los Ángeles
: The theoretical-practical workshop-encounter that you and Rogelio led from 3rd through 5th March 2008 served to define several of the central themes of the project Herramientas del arte. Relecturas [Tools of Art. Rereadings]. It’s true that not all of the concepts on the programme were able to be developed, in part because the entire process was condensed in three days, but, due to some of the aspects that were discussed there and the debate these created, the general impression after the workshop was that many questions were raised and new ways of facing the artistic experience emerged.
From the very beginning, this project was planned to raise questions, to examine supposedly unquestionable facets of culture and its institutions, for all of the agents involved to consider which channels the artistic practices of today can be directed and to stir up a debate about the artist’s place in society. Also, if anything characterises art today, it is the hybridisation of techniques, media, the ways of exhibiting it and its relationship with other social subjects, such as politics, sociology, history, philosophy, psychoanalysis, architecture, or city planning… To which we could add other subjects, those not qualified as “scientific” but theorisable nonetheless, such as the question of memory, the archive as a model of contemporary society, the new interconnected social networks, the associationism and activism oriented towards art, or projected and created from it.
Can the concept of art’s functionality, its usefulness within society (as it has been conceived since at least the 1930s and then its evolution in later decades) have a correlate in the contemporary art of today? Is a rereading of its functions and usefulness possible from the basis of the elements created by contemporary tools, especially those which have derived or emerged from technology? Is this the only way of re-reading its practice? And, as a consequence, in a society governed by macro-economics, where everything is valued in real time or even in advance, can art still have a real social function, in the feasible, palpable sense?

Daniel G. Andújar: The practice of art, as I understand it, must also become a show of “resistance,” a model that obstinately wants to remain in a space of relationships which are more and more hierarchical, diffused, globalised, standardised… Those who direct the framework of cultural industries and the management of cultural institutions abandoned, decades ago, the processes of creating new contents and cultural production as a collective construction. Most of the professionals who run this framework are simply developing a personal power structure, climbing up the ladder to the most visible and media-friendly part of the public and private art institutions. They flaunt their power and reign over the reality of their little empire. The Art Institution has been absorbed as just another mechanism in the process of service production. It is an active part of the touristisation process in the urban context and participates in the complex re-adaptation of the new city’s infrastructures. Artists have been pushed out of the court to make way for a new elite of cultural managers who work in ivory towers, conceived more like mausoleums, on biennial events.

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