El principal objetivo del proyecto e-paisaje.org es favorecer la accesibilidad a una herramienta de construcción —de construcción literaria— para todos aquellos narradores que trabajen o utilicen el recurso del paisaje. Este objetivo se alcanza mediante la elaboración de una base de datos en la que se están recopilando y recreando rutas literarias y localizaciones geográficas aparecidas en la extensa narrativa en castellano. La herramienta se abre al criterio social, ya que tanto lectores como autores pueden incorporar sus rutas e itinerarios tanto de creaciones nuevas o en proceso como extractadas desde obras ya impresas de autores conocidos.

El paisaje, como representación, es una construcción de la imaginación que va conformando paulatinamente una memoria en continua mutación, su desciframiento ha sido uno de los recursos expresivos más recurrentes de nuestra literatura. El inventario de nuestra realidad ha sido una tarea literaria de cierta tendencia histórica que ha incluido desde el inventario geográfico a la crónica, pasando por una intensa literatura de viajes que nos ha acercado al paisaje en sus múltiples y variadas vertientes: épico, utópico, ilusorio o fantástico, urbano, sin duda el paisaje sigue siendo una gran figura retórica de todo buen narrador.

En una primera acepción en el Diccionario de la Real Academia Española, el paisaje se describe como una extensión de terreno que se ve desde un sitio. Las tecnologías de información y comunicación están ampliando nuestros puntos de visión; en Internet han surgido diversas herramientas que combinando imágenes de satélites, mapas y otros datos ponen toda la información geográfica del mundo a nuestro alcance. En cierto sentido, estas herramientas, están cambiando las referencias del paisaje tal y como las hemos conocido. Desde nuestro emplazamiento habitual, nuestra vivienda, nuestra habitación sobrevolamos a nuestros vecinos hasta cualquier destino indicado, atravesando montañas, valles, ríos, carreteras, pueblos ciudades, edificios… más que decirle al lector algo que ya conoce desde el relato, e-paisaje.org nos ensancha la mirada. Si el escritor nos habla de lugares que conocemos, nuestra percepción crece con nuevos rincones y nuevas maneras de explicarlos, una nueva narrativa visual que puede empujar a visitarlos para encontrar en ellos nuestra propia voz, aun desde la imaginación.

Un proyecto de Daniel G. Andújar y Technologies To The People Foundation. Con Javier Lloret (desarrollo técnico), Mario Berenguer (asistencia diseño) y la colaboración de Jorge Blasco y Valentín Roma.

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por Valentín Roma, 2007

Secret es una propuesta que se integra dentro de las diversas actividades llevadas a cabo por el Archivo Postcapital de Daniel G. Andújar para Technologies To The People. Este fondo documental, que recopila más de 150.000 archivos digitales extraídos de la red (textos, secuencias de vídeo, bancos fotográficos, recortes de audio, links a asociaciones independientes, etc.), explora la compleja situación de las ideologías capitalistas y comunistas en el nuevo marco geopolítico resultante tras la caída del muro de Berlín. El Archivo Postcapital se presentó públicamente en La Virreina Exposiciones (Barcelona) en el 2006, dentro del contexto de Postcapital, un proyecto multimedia concebido por el ensayista Iván de la Nuez y los artistas Carlos Garaicoa y Daniel G. Andújar.
Diseminado en los más diversos lugares del espacio público, el trabajo adopta una configuración esquemática y voluntariamente ambigua, que consiste en una hoja en blanco, a modo de fotocopia, en cuyo centro aparece la palabra secret tachada. El gesto físico de tachar tiene aquí una resonancia simbólica de liberar, de hacer pública una información que hasta ese momento era privada, abriendo ésta a nuevos usos y a nuevas interpretaciones. En este sentido, Secret podría entenderse como un emblema de la apertura de los numerosos archivos que en diferentes situaciones políticas han ido engrosando ficheros ocultos, documentos secretos y demás material relacionado con la represión política y la persecución de individuos y colectivos. En otro sentido, Secret es también una especie de logotipo irónico acerca de los exorcismos de las distintas sociedades con su memoria; con su pasado y con su futuro; con los arquetipos vinculados a su historia y con los imaginarios, a veces igualmente estereotipados, que éstas pretenden proyectar fuera de sí.
Para facilitar su circulación pública, Secret adopta cinco formatos de presentación distinta que se corresponden con sus posibles usos, sus hipotéticos usuarios y con los diferentes espacios a señalizar. Así, encontramos una edición de octavillas que permiten un intercambio casi aleatorio, una colección de pósters de mayor tamaño que favorecen la injerencia en ellos y adoptan el sentido de un anuncio impreciso, una plantilla de aerosol que facilita una señalización inmediata, un gran grafitti situado en una de las paredes exteriores que delimitan el espacio de Matucana 100 y, finalmente, una pintada ubicada en el interior de la muestra Barcelona Toolbar pero visible, únicamente, a través de una rendija realizada en una de las paredes laterales de la sala de exposiciones. Este itinerario que comienza en el espacio público y termina en el espacio expositivo cierra, en torno a Secret, otro circuito que va desde la diseminación anónima en el territorio descodificado de la calle hasta el reconocimiento en el ámbito protegido e hipercodificado del museo.

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• 1998/2006
• Website with linked images
• www.irational.org/tttp/Crypto/armed1.html
• Presented in the exhibition with large-format DVD slide projection and Folder

Presented in the exhibition as an upgrade of almost 100 images, the internet project Armed Citizen shows a series of 17 small arms. No information is given on their origins. Who owns them? Are they being used as criminal evidence? Are they perhaps murder weapons? Who does the ›armed citizen‹ of the title refer to — the police? Or a citizens’ defence group that has taken up arms? Is there some allusion to the liberal firearms laws in the United States, to bloody incidents like the amok shootings that took place in Columbine High School, Colorado, in 1999, or in the Gutenberg Gymnasium in Erfurt in 2002? Armed Citizen is difficult to pin down. But it is safe to assert that it deals with an indeterminate feeling of fear and menace, and, by association, with the growing longing for security in a world felt to be increasingly less safe. The exhibition deliberately groups Armed Citizen in a kind of »security zone« together with Heath Bunting’s CCTV and Rachel Baker and Heath Bunting’s CCTV Sabotag — further irational works pointing to the essential futility of technology — or weapons based protective measures. (Inke Arns)

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• 1997
• Website with trademarked sentences linked with URLs
• www.irational.org/tttp/TM/trademark.html
• Presented in the exhibition as wall installation

Daniel García Andújar – the Spanish media artist better known by his company name Technologies To The People — almost ten years ago created with Language (property) a work addressing the increasing privatization and commodification of language. A plain HTML page presents a list of sentences that have become registered trademarks and thus the property of their corporate owners. Examples include »Where do you want to go today?™« (Microsoft), »A better return on information ™« (SAP), »Moving at the speed of business™« (UPS), »What you never thought possible™« (Motorola). By giving his project the title Remember, language is not free™, Andújar anticipated the disputes surrounding ›intellectual property‹ in the following years (and increasingly evident in the second half of the 1990s with the ruthless scramble for domain names in the World Wide Web). While on the website the individual sentences are linked to the copyright notices of the relevant companies, a large-format, almost ›immersive‹, wall Presented has been chosen for the exhibition.(Inke Arns)

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with
Antoni Muntadas
Daniel García Andújar
Bettina Lockemann

The Project

“Heimatwechsel” is an interdisciplinary 4-week workshop for students specialising in the areas of design, visual communication, art, media and culture sciences. The tutors of the workshop are three internationally renowned artists from the USA, Spain and Germany: Antoni Muntadas, Daniel García Andújar and Bettina Lockemann.

The aim of the workshop is to facilitate reflection upon the structures of the “public” process, the methods of communication and the possibilities these present and to intervene artistically using modern communication technology methods and to test new “public” participation models.

Within the four weeks of workshop, forms of creative, critical and subversive handling of media and new technologies in both theory and in practice shall be developed. Focus of the workshop is thereby additionally the specific urbane and social situation in Dortmund Hörde regarding the developments planned at present at the locations Hörde, Phoenix West and Phoenix Ost. The project offers beyond that the opportunity to examine strategies of “art in public space” – a public space which has long been influenced by the mass media as well as by new information and communications technology (Internet, mobile telephone, wireless LAN).

Background

The central location of the workshops will be the former spare parts stores at the disused Phoenix West steel works, which was shut down in 1998. The, in the meantime, renamed “Phoenix Halle” exhibition and events hall is situated in one of the “future locations” of Dortmund, which will become the location of ICT business in the next few years – or like the eastern part of the steel works “Phoenix east” – will be converted into high-quality residential quarters.

In the middle of the two areas lies the centre of the suburb Hörde, which played neither a roll in the planning to date, nor can it participate in any way in the radical restructuring of the former industrial location.

The location – the Phoenix Halle – offers the workshop a concrete example to reflect on the extremely varied communication technologies and their functions within the context of this radical, local “Heimatwechsel”.

Part 1
Methods and Strategies of Public Interventions:
by Antoni Muntadas, 10. – 19. July 2004

Antoni Muntadas (New York) is one of the main artists, who has been experimenting with critical media practice within constantly changing contexts (public space, television, internet etc.) since the late 1960’s. He was represented at the documenta 5 and X and at various biennial art festivals.
In the workshop he will reflect on basic, methodical and theoretical ways of tackling an interventionist practice of art with the students of the workshops and will discuss optional interaction between theory, practice and actual implementation.

Part 2
Subversive and participative networks in the virtual “public” space: open source, free software and “Hactivism“
by Daniel García Andújar, 20 July – 29 July 2004

Daniel García Andújar (Valencia) is an artist, who has used the Internet in an interventional and de/constructive way as a tool for critically viewing media since the middle of the 1990’s. He is a fellow initiator of irational.org, took part among other things, in the exhibition net.conditions (ZKM, centre for art and media technology). In 2002 with the project “e-valencia“ he put into action the idea of a networked local communication structure, which successfully brought together divergent interest groups concerned with a critical discussion of cultural political developments.
In the context of the workshops, he will develop further the ideas, which were generated by the students in the first part of the workshop. Thereby the main emphasis will be concerned with the implementation of free communication “tools”: how to reach which target groups, either through participation or reception, which infra-structure and what technology is necessary for this.

Part 3
Addressing, Participation, Knowledge Production, Documentation
Tutor Bettina Lockemann, 30. July – 10. August 2004

Bettina Lockemann (Köln) is a media artist (photography, video, Internet), designer and media theorist. Among other things she took part in the research project of the Staatlichen Akademie der Bildenden Künste (State Academy for Creative Arts), Stuttgart for “Visuellen Kompetenz im Medienzeitalter“ (visual competence in the media era). In her extensive exhibitions she combines the theoretical side of creative strategies with the actual, artistic conversion into practice.
Bettina Lockemann will actively accompany the first two parts of the workshop. The emphasis in the third part will be on the implementation of individual plans and their adequate documentation, visualisation and communication.

Part 4 Presentation: September 2004 (at different venues)
No exhibition is planned as such. The emphasis will be on the documentation of planning concepts or the consolidation of infrastructural proposals for those taking part in the workshop and/or from population groups involved in the projects. The aim of the presentation is more to let “news” of the workshop results “seep” through to the public than to present it publicly. Here the actual public space, the internet or the still very effective print media can play a roll.

Participants

The 4-week interdisciplinary workshop is aimed at those students whose main area of study encompasses visual communication, media art, film/video, media and cultural science, and design.

The Workshop will be held in English.
The number of participants is limited to 15 students.

Please, send your applications including CV and a short description why you would like to participate to:

hartware medien kunst verein
Silke Albrecht
Güntherstr. 65
44143 Dortmund

Application deadline: 10.06.2004 (Post mark)

The participants will be informed directly in the middle of June.
Students from abroad will get reimbursed their travel expenses as far as they do not receive subsidies. If necessary, students from abroad will be supported by accommodating.

A project by
hartware medien kunst verein + medien_kunst_netz dortmund
In cooperation with
Fachhochschule Dortmund, FB Design (Polytechnic, Department Design)
Supported by
Ministerium für Städtebau und Wohnen, Kultur und Sport des Landes NRW
Kulturbüro Stadt Dortmund
and others

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Im Rahmen der Ausstellung “Reservate der Sehnsucht” in der ehemaligen Union Brauerei wurde die von Daniel García Andùjar entdeckte Fotosammlung der einstigen Brauereiangestellten Wilhelm und Manfred Beutel präsentiert. Die Sammlung dokumentiert historische Ereignisse aus Dortmund, die im öffentlichen Bewusstsein der Stadt heute nur wenig präsent sind: die Jahre des deutschen Faschismus sowie die fast vollständige Zerstörung der Innenstadt während des Zweiten Weltkrieges.

Der wesentliche Beitrag von Andújar bei der Präsentation der Sammlung bestand in einem eigens entwickelten geografischen Informationssystem, kurz GIS, mit dem sich von jedem einzelnen Bild der exakte Zeitpunkt der Aufnahme sowie der Standort des Fotografen ermitteln lässt.

Auf jeder Fotografie erscheint die Union Brauerei an einem falschen Ort: Sie wurde jeweils leicht verschoben, deplaziert. Wilhelm und Manfred Beutel sind zwar keine fiktiven Personen, haben jedoch nie in der Union Brauerei gearbeitet. Tatsache ist vielmehr, dass der Widerständler Wilhelm Beutel in Dortmund von den Nazis umgebracht wurde. Andújar hat sich während eines Stipendiums in Dortmund eingehend mit der Nazi-Vergangenheit dieser Stadt beschäftigt und deren Abwesenheit im öffentlichen Raum bemerkt: Kein Platz, keine Straße, die etwa nach dem Widerständler Wilhelm Beutel benannt wäre… In diesem Sinne ist die Präsentation der angeblichen Fotosammlung nicht in erster Linie ein “Fake”, sondern eine Hommage an Wilhelm Beutel sowie eine Revision der Dortmunder Stadtgeschichte, die jenseits der schicken Simulationen durch GIS liegt.

Iris Dressler

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

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Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998
CD-ROM, 50 framed digital prints
Coproduction: Hartware MedienKunstVerein
Reservate der Sehnsucht, Dortmunder U, 1998

In the course of the “Reservate der Sehnsucht” exhibition in the former Union brewery, Daniel García Andùjar presented a photograph collection he discovered. Compiled by the former brewery workers Wilhelm and Manfred Beutel, the collection documents episodes in the history of Dortmund which scarcely figure in the city’s contemporary public awareness: the years during the Third Reich, and the almost total destruction of the inner city during World War II.

Andújar’s main contribution to this presentation was a specially developed geographical information system (GIS) enabling the exact time of shooting, as well as the location of the photographer, to be determined for each picture.

The Union brewery appears in the wrong place on every photograph, having been slightly displaced each time. Although Wilhelm and Manfred Beutel are not fictional characters, they were never employed by the brewery. Wilhelm Beutel was a member of the resistance movement, and was murdered by the Nazis in Dortmund. While on a fellowship in Dortmund, Andújar intensively studied the city’s Nazi past, and was struck by the period’s absence from public space – no square or street, for instance, has been named after Wilhem Beutel in honour to the role he played. In this sense, the purported photo collection is presented less as a faked chronicle than as an homage to Wilhelm Beutel and an attempt to amend Dortmund’s public version of the authentic history lying outside the smart GIS simulations.

Iris Dressler

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

Daniel García Andújar: The Manfred and Wilhelm Beutel Photo Collection, 1998

Dortmunder U

Built 1926-27, the brewing house and depot of the Union brewery was Dortmund’s first high-rise building. Like the Zollern colliery or the former Phoenix steelworks, the Dortmunder U is a symbol of the era of the mining industry in the Ruhr Valley. Beer – the “fuel of industry” – was brewed in the striking edifice up to 1994. The building’s popular name comes from a 9-metre high illuminated “U” installed on its roof in 1962. This landmark immediately catches visitors’ eyes as they alight at the railway station.

“Reservate der Sehnsucht” was the title of a spectacular media-art exhibition that was mounted in the Dortmunder U in 1998 and marked the building’s incipient transition from a ruined factory site to a venue of arts and culture. Work is currently underway on a project to refurbish the Dortmunder U as a museum.

Exhibitions

Reservate der Sehnsucht 1998
The exhibition “Reservate der Sehnsucht” dealt with those places in which individual and collective desires meet with fulfilment – or, equally, disappointment. Potential locations could be anything from themed shopping malls to exotic adventure parks.

“The subject is the commercial re-casting of urban, rural and social fabrics, and likewise the individual strategies for life and survival on the fringes of public and private” (Iris Dressler). The artists – among them Daniel García Andújar, Christoph Draeger und Jan-Peter E.R. Sonntag – invited to exhibit by the curators Iris Dressler and Hans Christ adopted very diverse artistic strategies in their handling of these interrelated themes.

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Presented as large-format wallpaper installation » The Research Department of Technologies To The People devotes itself to statistically recording and presenting core areas of contemporary life. In regard to levels of technology ownership in the USA, the department tells us that 77.3 % of the population possesses a microwave, but only (only?) 55 % a supermarket price scanner. Another statistic reveals that Washington and California are the federal states in which UFOs are most frequently spotted (New York trails far behind at the other end of the scale). We are also given percentages for the distribution of religions over the continents, beverage consumption in selected countries, the frequency with which types of passwords are cracked, the primary online activities of women, and the distribution of employment in the USA (with data supplied by the Bureau of Labor Statistics of the U. S. Department of Labor). In the exhibition the statistics are presented as large-format printouts covering the walls of the room dedicated to irational’s Collecting data all over the net project. The collection of all kinds of data (via surveys, for instance, or loyalty cards) combined with the personalization facilitated by increasing linkage with databases has now become a powerful tool for consumer control. With its own requests for sensitive or wholly irrelevant information, irational began from an early date to confront the increasingly apparent mania for collecting data. (Inke Arns)

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Presented as online website Daniel G. Andújar’s company Technologies To The People (TTTP) invites interested parties to submit an application to the grants programme of the fictitious Technologies To The People Foundation. A click on the hyperlink takes potential applications to the Preliminary Basic Application, a serious-looking questionnaire which reveals the subtle mechanisms used to collect marketing-relevant data. A notice advises that a fee is payable — by credit card only — prior to submitting an application, and requests for sensitive information are underscored by ironic notices flickering across the screen: »We would appreciate! Strictly confidential!« The form asks for the applicant’s social insurance number and credit card details as well as financially useful data (age group, gender, marital status, occupation), and rounds off the profile by asking for details of religion and race. (Darija Simunovic)

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A long list of awards conceivably and inconceivably bestowed on the Technologies To The People website which, as its makers would have us believe, is »one of the most popular art sites on the internet «. Framed in silver like a collection of especially valuable postage stamps, the some 30 distinctions presented in the original thumbnail format include »Browser Watch — Net Fame!«, »An Internet cool site of the day«, »Magellan Star Site«, »Prescribed by Dr. Webster’s Web Site of the Day«, »Art Dirt« — »Your Webscout Way Cool Site«, and »Orchid Award for Page Excellence«. (Inke Arns)

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