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Señales de socorro

Por Jaime Luis Martín (10 de Febrero, 2010)


Feedforward. El Ángel de la Historia
Hasta el 5 de Abril
Laboral Centro de Arte Y Creación Industrial

En la última Documenta Kassel una reproducción del «Angelus Novus» de Paul Klee presidía la entrada del Museum Fridericianum, recordándonos, con su mirada fija, que la historia no es un continuo acontecer lineal, sino un terrible remolino. La muestra «Feedforward. El Ángel de la Historia» invoca a este ángel «con los ojos desorbitados, la boca abierta y las alas tendidas» para abordar, en palabras de los comisarios Steve Dietz y Christiane Paul, «el actual momento histórico, definido por la incertidumbre y por la agitación política y económica, planteando al hacerlo interrogantes sobre cuál podría ser el significado del término progreso en el siglo XXI». En 1940 Walter Benjamin vio en este ángel una representación de la historia y en el último ensayo, antes de su muerte, escribió: «El ángel quisiera detenerse, despertar a los muertos y recomponer lo destruido. Pero un huracán sopla desde el paraíso y se arremolina en sus alas . Este huracán lo arrastra irresistiblemente hacia el futuro, al cual vuelve las espaldas, mientras el cúmulo de ruinas crece ante él hasta el cielo. Este huracán es lo que nosotros llamamos progreso». Y son ese ángel que emergió desde la noche y este relato que, como una parábola, nos advierte de los efectos devastadores del progreso capitalista, dos buenas razones para posar la mirada y reflexionar sobre el presente. 



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Tecnología transparente

– José Manuel Costa

ABC.abcd

LABoral es el mayor centro español dedicado a las prácticas emergentes, el de mayor presupuesto y apoyos y el que desde un principio mostraba toda la intención de integrarse en los nuevos diálogos internacionales en torno a esas prácticas que, entre otras peculiaridades, poseen las de ser cada vez más integradoras de todo tipo de estímulos sensoriales y más difusas en sus mecanismos de creación y distribución.

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Feedforward. The Angel of History.

By Regine www.we-make-money-not-art.com

Part 1: Wreckage and countermeasures

Feedforward. The Angel of History, a compelling exhibition that opened a few weeks ago at LABoral in Gijón, addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces–largely enabled by the “progress” of digital information technologies–inexorably feed us forward. The exhibition title references Paul Klee’s watercolor Angelus Novus. Walter Benjamin saw it as depicting “the angel of history” transfixed by the wreckage of the past that is accumulating in front of him while being propelled into the uncertain future by progress.

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View of the exhibition space: upstairs

Curated by Steve Dietz and Christiane Paul, the show explores a 21st century made of deep inequalities, complex tensions and a general feeling of instability. Can we count on the media to reflect accurately the political and cultural landscape? Are the media addressing and monitoring the disturbances that surround us? Or are they instead accomplice to the situation?

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View of the exhibition space: downstairs

If the media do not do what we expect from them, can art step in? Which kind of role can artists play in this scenario? Is providing feedback to what they observe enough? Shouldn’t we instead hope that they will adopt a more “feed-forward” attitude and inspire greater awareness and collective reaction?

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El artista como profeta

Feedforward. El ángel de la historia.

COM.: S. Dietz y C. Paul. Laboral centro de arte. Los Prados, 121. Gijón. Hasta el 5 de abril de 2010.

elcultural.es Víctor del Río

Feedforward. El ángel de la historia, es una exposición que continúa un camino que LABoral Centro de Arte mantiene desde su apertura, en la frontera entre el arte y la creación industrial. De hecho, con esta propuesta se cierra un círculo en la programación al establecer un diálogo con Feedback, inaugurada el 30 de marzo de 2007, y que fue el comienzo de la andadura del centro. Un recorrido que toma un nuevo rumbo ahora con la incorporación de Benjamin Weil como comisario jefe, tras la marcha de Eric Berger.

Esta muestra, comisariada por Christine Paul y Steve Dietz, concita una selección de obras que trabaja con los espacios de interacción social derivados de las nuevas tecnologías. El planteamiento teórico evoca el conocido comentario de Walter Benjamin sobre el cuadro de Paul Klee, Angelus novus. A propósito de esta obra, Benjamin habla de una conciencia de la historia y del progreso como un vórtice de ruinas y catástrofe, y el motivo se recicla ahora para la comunicación de masas y las nuevas redes sociales.

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FEEDFORWARD: EL ÁNGEL DE LA HISTORIA

En coincidencia con la inauguración de la exposición FEEDFORWARD: EL ÁNGEL DE LA HISTORIA, LABoral Centro de Arte y Creación Industrial (Gijon, España) celebra un Simposio Internacional de dos días de duración

Fechas: viernes 23 y sábado 24 de octubre de 2009

Limpieza total después del siglo XX. ¿Qué se entiende ahora por progreso?

FEEDFORWARD – El Ángel de la Historia se refiere al momento actual en la historia en el cual las ruinas del conflicto político y la desigualdad económica se acumulan, mientras que las fuerzas globalizadas – posibles, en gran parte, por el “progreso” de las tecnologías de la información digital – nos empujan de forma inexorable.

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FEEDFORWARD. THE ANGEL OF HISTORY

Thu, October 22 , 2009 – Mon, April 5 , 2010

FEEDFORWARD – The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces—largely enabled by the “progress” of digital information technologies—inexorably feed us forward. The exhibition title references Paul Klee’s painting Angelus Novus, which Walter Benjamin famously interpreted as an “angel of history” transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress).

The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams. The projects are presented, as if in the rear view mirror of progress, in sections relating to five themes: the “wreckage” of the 20th century created by wars and conflict; the countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control; the aesthetics and symbolic language of the media of our times; the forces of economic globalization such as outsourcing and migration; and the possibilities of reconstruction and agency.

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Banquete nodos y redes, media art spagnola

Vito Campanelli, neural

Banquete, mostra giunta alla terza edizione al LABoral di Gijón, è un importante occasione per far il punto sullo stato dell’arte della scena spagnola. La curatrice Karin Ohlenschläger ha infatti proposto trenta artisti riconducibili a tale area geografica: uno sforzo organizzativo imponente per una mostra che, a partire da marzo 2009, approderà presso lo ZKM di Karlsruhe. Le chiavi di lettura possono essere individuate nella sinergia che si è stabilita tra arte, scienza, tecnologia e società nelle più recenti espressioni dell’arte digitale spagnola e nella consapevolezza che quando parliamo di network dobbiamo riferirci ad essi come a reti di esseri umani che utilizzano i computer come interfacce per relazionarsi e a non a reti di computer strictu sensu. Il fenomeno sociale e culturale della network society è indagato attraverso una serie di punti di vista, si inizia dalle reti urbane e territoriali, indagate, tra gli altri, dai collettivi Hackitectura e Escoitar e dal progetto ‘Observatorio’ di Clara Boj e Diego Díaz: un’installazione, posta sulla torre sovrastante l’Universidad Laboral, che permette di ammirare il landscape della città e di visualizzare i nodi WI-FI in essa localizzati, con ciò assumendo la tesi che i luoghi di libero accesso ad Internet sono divenuti elementi caratterizzanti le geografie delle città. I network educativi e di condivisione delle esperienze sono invece alla base della video installazione di Marta de Ponzalo e Públio Pérez Prieto, delle micro-storie di Dora García e soprattutto dal progetto Banco Común de Conoscimiento del collettivo Platoniq: una piattaforma per lo scambio di conoscenze che mutua dalla Rete alcune modalità operative (il social tagging, la capacità di incrociare domanda e offerta propria di alcuni software commerciali, ecc.) e le ripropone in laboratori che vengono organizzati in giro per il mondo. Finalità sociali sono alla base anche dell’esibizione del collettivo Technologies to the People e di Daniel García Andujar che hanno distribuito al pubblico copie di X-devian, un invito ad abbracciare la filosofia del free software e di sostituire Ubuntu al proprio sistema operativo. La transdisciplinarietà delle opere in esposizione a Banquete trova il suo apice nelle secuencias di Pablo Armesto che indaga le relazioni di ventiquattro cromosomi e nella poetica installazione di José Manuel Berenguer che rappresenta, attraverso una moltitudine di insetti artificiali da lui stesso costruiti, i sincronismi propri della comunicazone audio-visuale delle lucciole. Al di là dei singoli spunti offerti dalle numerose opere in esposizione, ciò che più colpisce in Banquete è l’abilità con la quale l’esigenza di un approccio antropocentrico all’arte digitale viene coniugata con l’esigenza di privilegiare le analisi di sistema, l’interdipendenza dei nodi della Rete rende infatti impossibile l’analisi di un singolo nodo, se non in relazione a tutti gli altri. Il rifiuto delle microanalisi è dunque il rifiuto di un approccio inevitabilmente destinato ad essere sterile, proprio perché incapace di cogliere la complessità che ciascun nodo della Rete reca con sé. In virtù di tali considerazioni, l’arte dei nuovi media spagnoli diventa, nella mostra organizzata dal LABoral, un elemento di indagine significativo proprio perché correttamente inquadrata nella prospettiva delle relazioni intercorrenti tra tale realtà e il più ampio panorama internazionale.


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Banquete nodos y redes, Spanish media art

Vito Campanelli, neural

The Banquete project is a series of exhibitions which promote the Spanish state-of-the-art scene. This year’s installment (the third) took place at the Laboral in Gijon. The project is very well organised and succeeds in bringing people from disparate places together. The thirty artists selected by curator Karin remains the development of a synergy inclusive of art, science, technology and society. Also important to Banquete are the most recent expressions of Spanish digital art and the concept of networks as human networks using computers as interface and not and not to computer networks strictu sensu. The phenomenon of social and cultural networking is looked at from a variety of perspectives, beginning with urban and territorial networks. Significant artists working in these areas include the Hackitectura and Escoitar collectives and Clara Boj and Diego Díazt’s “Observatorio” project. The latter consisted of an installation placed on a tower which overlooked Laboral University which allowed for comtemplation of the city’s landscape while also juxtaposing a vizualization of the Wi-fi nodes located there. The assumption is that free Internet access is a characteristic of the geography of a city. Marta de Ponzalo and Públio Pérez Prieto’s video installation, Dora García’s micro-stories and especially Platoniq’s “Banco Común de Conoscimiento” are all based on educational and sharing networks. The latter is a platform for the mutual exchange of knowledge that borrows from the net some of its procedures (social Ohlenschläger will be next be seen at Karlsruhe’s ZKM in March 2009. The main focus of the project tagging, the feature of crossing supply and demand typical of some commercial software, etc.). It is performed at workshops organized all around the world. Daniel García Andujar’s “Technologies to the People” is very fond of social goals: at Banquete he distributed copies of X-devian Linux OS, pushing his spectators to embrace the free software philosophy. Works exhibited at Baquete interweave different branches of knowledge. This is especially evident in Pablo Armesto’s “sequencias”, which investigates the relationship between twenty-four chromosomes, and in the poetic installation by José Manuel Berenguer, which represents the typical synchronisms seen in the audio-visual communication of fireflies via a set of self-constructed artificial insects. Going beyond the single ideas offered by the many exhibited works, Banquete impresses because of its anthropocentric approach to digital art and its facilitation of systems analysis. The interdependence of the network nodes makes the single-node analysis impossible. The dismissal of microanalysis results in the dismissal of a sterile approach – the single-node analysis is unable to grasp the complexity that is brought to the network by each individual node. At the LABoral exhibition, Spanish New Media art becomes a significant element to be investigated, and properly frames the relations between the Spanish and the international scene.

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“Un arte que pretende hacer visible lo invisible”

Banquete_nodos y redes
Interacciones entre arte-ciencia-tecnología-sociedad en la creación digital en España

enfocarte.com

En la década de los sesenta Edgar Morín comenzó una serie de investigaciones experimentales en el campo de lo social bajo las cuales vislumbró la incipiente idea de la necesidad de un nuevo paradigma transversal que involucrara los más diversos campos del conocimiento para lograr un abordaje multidisciplinar que diera cuenta de la complejidad de la realidad en sus múltiples dimensiones. En la sociedad actual globalizada, la vertiginosa transformación tecno científica, cultural, social y política, ha configurado una nueva cartografía, precisamente perfilada por Manuel Castells, tanto en la complejidad de las múltiples realidades en las que operamos simultáneamente, como en la interconexión entre procesos y acontecimientos considerados inconexos o marginales.

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Banquete_nodos y redes

Interactions between art-science-technology-society in digital culture in Spain

The banquete_ project came about at the beginning of the 1990s and evolved as a network of conversations and collaborations between artists, scientists, humanists, technologists and activists. The shared motivation has been to encourage and socialise the dialogue between sciences and humanities with a mandate to explore the relationships between biological, social, technological and cultural systems. Over time, this network has given rise to an interactive ACTS (the Spanish acronym for Art-Science-Technology-Society) environment, defining a space of encounter and collaboration between different artistic, scientific and technological centres for research, production and diffusion both here in Spain as well as internationally.

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