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    Archived pages: 406 . Archive date: 2014-01.

  • Title: ANTIMUSEO
    Descriptive info: THEORY.. LIBRARY.. SHOP.. About.. Archive.. Links.. Support.. Contact.. +34 91 577 47 60.. Español.. ---.. STAGE 3.. ANTIMUSEO PRODUCCTIONS.. IMAGES AGAINST WAR.. 15 -17-05.. 03.. An exhibition of antiwar images, which, in the finest tradition of popular graphic art, denounced injustice and the ulterior motives of the military plan on invasion of Irak.. Many were anonymous images, which we gathered from the Internet over the  ...   joined a chain of acts that expressed the almost universal rejection of the aggression that was ultimately perpetrated against Iraq.. Images Against War.. N55.. Closed Madrid.. Recipes for Hope.. The End of the Fair Times.. Marx Update.. Love Party 1.. How Shall I Love You My Little One?.. Mass Grave.. Love Party 2.. CODE : RED Madrid.. Performances.. en el Parque de Berlín.. Feminine Visual..

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  • Title: ANTIMUSEO
    Descriptive info: Photo:.. Snail Shell System.. at park of Retiro, Madrid.. The Scandinavian collective N55 was made up of the artists INGVIL AARBAKKE, JON SØRVIN, RIKKE LUTHER AND CECILIA WENDT.. N55 works with art as part of everyday life.. In their own words, they.. create situations with a concrete and fundamental significance to everyday life, but which at the same time have aesthetic and ethical consequences.. Web page.. En 2004 we invited.. to our space of Mantuano St.. to exhibit 3 pieces of their production:.. SNAIL SHELL SYSTEM.. The.. is a low cost system that enables persons to move around, change their whereabouts and live in various environments.. One unit supplies space for one person.. It is mobile both on land and water.. One person can move it slowly, either by pushing it like a wheel, walking inside it or on top of it.. On water it can be rowed, moved by a kite or hooked up  ...   be buried in the ground, exposing only the entrance.. It can also function as a comfortable space inside existing buildings.. The unit can be hooked up onto existing infrastructure like telecommunication lines and electricity cables (for example, by connecting it to street lamps).. BARMOBILE.. Barmobile.. is a mobile non-profit bar that enables persons to establish a bar in local situations, have a drink, meet, listen to music, etc.. , in any place they find suitable.. It can be carried, mounted on a cart, in a car, on a bicycle trailer, or be transported in other ways.. MOVEMENT.. Movement.. is apolitical movement that any person ought to take part in.. The aim oftis to find ways of living with as small concentrations of power as possible.. With the support of:.. Danish Contemporary Art Foundation.. Real Embajada de Dinamarca en España.. Fundación Reina Isabel de Dinamarca.. Real Embajada de Noruega en España.. Ayuntamiento de Madrid.. in Berlin Park..

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  • Title: ANTIMUSEO
    Descriptive info: CLOSED MADRID.. The Counter-Call-for-Submissions.. 13 - 28.. 02.. 04.. Participants:.. CÉSAR BORJA.. / ELCORTEINGLÉSCERRADO.. TEODORA ZAMFIRESCU.. / 50% COTTON, 50% INTENTION.. PEPE ABASCAL.. / ART IS NOT FOR FOOLS.. MIK ELO /FARMNAZI.. / PROPOSAL FOR A FOUNTAIN IN THE CURRENT PLAZA DE CIBELES.. LEO RAMOS.. / SICUREZZA SUI CULITI.. ANTI-PINCHO URBAN FURNITURE.. MARÍA MARÍA ACHA.. / MEXICO'S FOUNTAIN OF CIBELES IN MADRID.. ESPERANZA BRINGAS Y EVA SOLANO.. / UNTITLED.. MARTA ROMO.. / SIN TÍTULO.. SUA ARANA.. / TO BE OR NOT TO BE.. TOM LAVIN.. / IT COULD HAVE BEEN HERE / TAR CASCADE.. JÀSON PORTELL.. / RECOVERED TERRITORY.. JUAN GÓMEZ.. / DIALOGUE? SILENT DIALOGUE.. FELIPE ARAUJO.. / THE BLUE LIGHT DISTRICT.. CHRISTIAN BAGNAT y ELVIRA POXON.. / ONCE UPON ANOTHER TIME.. SIN DOMICILIO FIJO.. / REAL MADRID / APPRECIATING THE  ...   initiative which, during the celebration of ARCO 2004, presented a number of public art projects in downtown Madrid.. The counter-call-for-submissions was an open one, and asked for scale models for installation on a map of downtown Madrid that was drawn on the floor of the exhibition hall.. This project addressed the need to adopt critical positions before institutional culture.. At that time, a month after the invasion of Iraq, and with the conservative party in power in the national government, and in the Autonomous Community of Madrid and the city council, we had a massive response, allowing us to shatter the cultural blockade that Aznar's government had erected with exhibitions and programs that on the surface seemed very progressive but were in fact very reactionary, as in the case of.. Feminino Visual..

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  • Title: ANTIMUSEO
    Descriptive info: RECIPES FOR HOPE.. A PROJECT BY.. 26.. Después de los terribles sucesos del 11M, el.. Antimuseo.. decidió aplazar la exposición titulada.. El fin de los tiempos justo.. s, que proponía precisamente una reflexión sobre la violencia política en el primer aniversario de la invasión de Iraq, y en su lugar invitaron mediante una convocatoria abierta a artistas y escritores de todo el mundo a crear.. Recetas de Esperanza.. , que sirviesen a los madrileños a superar la crispación y angustia de los últimos días.. Las.. debían ser un conjunto de instrucciones que expliquen a cualquier persona cómo realizar en su casa un objeto, una ambientación, un ritual o un evento capaz de producir, a esa persona y a sus allegados, una gran sensación de esperanza.. Por así decirlo, hacer una obra de arte esperanzadora.. Recibimos 42 recetas, las cuales se presentarón el 26 de marzo de 2004 en el local de Mantuano 25.. After the terrible events of March 11, the.. decided to postpone the exhibition entitled The end of time just who proposed just a reflection of political violence on the first anniversary of the invasion of Iraq, and instead invited through an open call artists and writers from around the world to create.. Recipes of Hope.. , which serve people of Madrid to overcome tension and anxiety of recent days.. should be a set of instructions explaining how to make anyone in your household object, a setting, a ritual or an event capable of producing that person's relatives, a great sense of hope.. Roughly speaking, a work of art to hope.. We received 42 recipes, which were filed on March 26, 2004 in the local Mantuano 25.. A project by.. María María Acha.. consists of do-it-yourself instructions on how to create an object, ambiance, ritual or event capable of eliciting feelings of hope in the individual crafting it and in the people close to him or her.. In a manner of speaking, it shows us how to create a hopeful work of art.. RECIPES.. On Pain.. Text:.. Tomás Ruiz-Rivas.. Pain is a private experience, one that is very difficult to share.. When misfortune befalls us, many prefer silence and solitude to the encouraging words of those who, however sincere in their sentiment, cannot possibly know what we are feeling.. Moreover, pain is not subject to any kind of arithmetic.. Suffering cannot be quantified by counting the number of victims, because every person who dies loses his or her entire life, and every loved one his or her frame of reference and path.. The strength that dreams give us to keep going in the world.. Pain is non-transferrable and irrational.. And for the same reasons explained above, it is selfish.. I can say that of all the deaths caused by traffic accidents, the only one that has hurt me, the only one that hurts me every day, was that of my brother Sergio, and that the only death from cancer that has hurt me, the one that hurts me every day, was that of my sister Sonia.. But when pain is brought on by war, by any form of violence that men inflict on other men, the gratuitousness of the suffering, its intrinsic injustice, is intensified to an intolerable degree.. I think it is only comparable to the pain caused by extreme poverty.. The attacks in Madrid on March 11, 2004, have brought home a kind of pain that we had begun to think of as little more than spectacle.. Despite the fact that there is still a generation of Spaniards that remembers the horrors of war, and that there is at least one terrorist group active in our territory, the train attack thrust us into a reality which we believed to be a distant one, seen only on television.. For a moment, the distance and differences were erased between Madrid, Gaza and Kerbala—where only nine days earlier, 112 people were assassinated in a very similar fashion.. The same screams, the same blood.. The pain of the Other is now our pain; we are the Other—the Moor, the Arab, the pariah that is wronged again and again.. The roles have been reversed on us, and we don't know if it will be that way forever.. This role reversal allows us to understand that the media war does not exist.. It is a reassuring fiction.. What does exist is pain, people dying and people crying.. In the days immediately following the attack, the mass media made a concerted effort to preserve the victims' humanity.. Little by little, they showed their faces to us and told us their stories, so that the tragedy would not be swallowed up by all new waves of cruel statistics.. The detached reckoning of victims has to be fixed in our memory by processes that are traditionally artistic in nature: portrait and narrative.. As society slowly emerges from its stupor, the pain must not be neutralized by political analysis or ideological debate.. Clearly, a political evaluation of these events will have to be carried out, along with an analysis of their causes, effects and ramifications.. But this will have to be done from the point of view of pain, because when we speak of doing justice, we are referring to a need to end the kind of pain that is inflicted by man, through the many cruel forms of oppression that we have invented.. It is also because this sentiment is perhaps the only human aspect that we are going to be able to find among all the justices and injustices of war, and our ability to share and communicate that aspect is the only thing capable of keeping it from turning into hate.. We hope that this project has ultimately been one that inspires hope.. Participants.. 1.. MARIO ACHA KUTSCHER.. Ciudad de México.. 16.. ELOGIO DE LA SOMBRA.. Ingredientes.. - Un grupo de personas familiares o amigos muy queridos.. - Una fotografía de cada persona con los ojos cerrados tamaño carta en Blanco y negro (representa el alma).. - Cinta adhesiva.. - Una mesa proporcional a la cantidad de personas que se van a reunir.. - Tres velas.. Receta.. Coloca las velas en el centro de la mesa y préndelas una por una.. 2.. Apaga la llave general de corriente eléctrica de la vivienda (todo los aparatos eléctricos deberán estar desconectados).. Si tienes un reloj a pilas, desconéctalo.. 3.. Cada persona pegará en la pared o un mueble su fotografía tamaño carta justo detrás del lugar donde se sentará.. Las fotografías deberán quedar en la penumbra.. 4.. Sirve algunas tapas o tragos ligeros, de preferencia vino.. 5.. Inicia la conversación con lo primero que te venga a la mente, escucha los ruidos de la ciudad y déjate llevar por la atmósfera.. Repite la experiencia de cuando en cuando.. UN RAYITO DE ESPERANZA, DOS RAYITOS DE ESPERANZA, TRES RAYITOS DE ESPERANZA.. - Tres linternas de mano de color claro (de dos o tres baterias o pilas tamaño D).. - Una caja de baterias.. - Un marcador oscuro.. - Varios amigos o vecinos que vivan cerca.. Ata ordenada y cuidadosamente las tres linternas con la cinta adhesiva.. Escribe con buena letra en cada linterna el nombre la persona que más quieres, confías o recuerdas (Vivas o fallecidas).. A las 8:30 de la noche del jueves siguiente acercate a una ventana alta o balcón de tu casa o departamento, prende las linternas y alumbra el cielo durante 10 minutos.. Repite la operación todos los jueves que quieras.. - Si encuentras luces amigas juega con ellas (los seres queridos se están conociendo).. - Si no las encuentras tus seres queridos alumbran la oscuridad.. Comparte esta idea con tus amigos y vecinos.. MIREILLE ASTORE.. To be performed at night.. Take torches or candles and place them inside or on top of an object that you like and value dearly.. Take a photo without a flash Develop and print it.. Give it away as a gift.. C.. P.. SEIBT.. (+).. MARÍA RIKTA.. RECETA BUDISTA PARA LA ESPERANZA.. Madrid, España.. Siéntate en el suelo o en tu butaca favorita en la posición de sastre, con la espalda bien derecha.. Las manos sobre los muslos o sobre las rodillas con las palmas hacia arriba.. Respira profundo mientras sientes tu cuerpo.. Conecta, imaginariamente, con todo el dolor que existe en el mundo, da igual la procedencia.. Imagina que absorves ese dolor a través de un agujero imaginario en la palma de tu mano izquierda y que sube por un imaginario canal, desde la mano hasta el corazón.. Tu corazón transforma ese dolor en esperanza, limpiándolo, y lo emite al universo a través de otro canal, esta vez hacia el brazo y mano derechos y sale transformado en luz a través de la palma de tu mano derecha.. Haz esto mientras notes ese dolor que flota a tu alrededor.. RECETA DE ESPERANZA PARA MADRID.. Por.. ALANNA LOCKWARD.. Inmigrante Indisciplinaria.. Creo en los actos individuales, en el poder infinito que tiene un gesto para transformar, revertir, iluminar cualquier conflicto.. Mi receta reconoce y afirma este potencial proponiendo la ejecución fundamental de una acción simple por parte de una persona.. Como la mayoría de las veces las acciones memoriales parten de convocatorias al silencio, quisiera integrar este ingrediente importantísimo como primer elemento de mi receta.. Para preparar esta receta se debe comenzar con 3 minutos de silencio.. Luego se abordará la preparación de algún platillo cuya memoria traiga a quien cocina el recuerdo de haber sido cuidado por alguien, de haber disfrutado un gesto especial.. Mientras se elabora el platillo es necesario concentrarse en todo el bien y el consuelo que al (a) ejecutante le gustaría transmitir a los familiares de las víctimas del 11M.. Finalmente se comparte el resultado con alguien cercano queha sido invitado especialmente para la ocasión.. La cantidad de invitados no es importante, únicamente la actitud de quien cocina al momento de prepar la comida.. La esperanza es posible cuando creemos en el poder curativo del gesto, tanto el de perdonar, como el de recibir consuelo.. Berlín, 18 de Marzo de 2004.. 6.. Berriz Marzo 2001- Marzo 2004.. Impasibles ante el sufrimiento como no vamos a ser sordos para el arte.. En pleno siglo 21 el hombre debe emprender rápidamente un viaje hacia la conciencia de sí mismo, hacia su propia esencia.. Inevitable aunque siempre pospuesto por un continuo negar el dolor, ajeno y propio.. Hombre sordo.. Instituciones sordas.. Culturas sordas.. Viaje lento que apacigüe el alma y endulce la vida, como un licor de lágrimas preparado con sabiduría, con generosidad, con compasión y amor.. El arte es un acto de compasión, un acto de generosidad y un acto de purgación y conciencia necesario en todo sociedad que quiera evolucionar.. Y ¿a quién le gustan los purgantes? Este es el problema del reconocimiento del arte y su función humana y social, de su negación o indiferencia frente a éste.. El purgante siempre actúa tras el exceso.. Por lo que tras tanto exceso de barbarie y sufrimiento esta convocatoria ya supone un purgante en si.. A cambio les envío una receta con amor, mucho amor para apaciguar las lágrimas.. Espero que esta receta que con tanto amor les he preparado les alivie en esta vida.. RECETA EARS FOR TEARS.. Copa de amor que quita las penas.. - 1Ltr.. de leche de amor.. - 300gr.. de miel de paciencia.. - 8 yemas de huevos del silencio.. - 200gr.. de nata de ternura bien montada.. - 1 yogurt de sacrificio natural.. - Unas gotitas de licor de lágrimas (pero sólo unas gotitas).. Calentar la leche de amor hasta que hierva y añadir la miel de paciencia.. Remover hasta que el amor y la paciencia se disuelvan.. Retirar del fuego y agregar las yemas batidas de los huevos del silencio.. Volver a cocer a fuego suave hasta que el amor con paciencia espese en silencio.. Colocar el recipiente con la crema dentro de otro con agua de lluvia (no puede ser otra).. Añadir lentamente el yogurt de sacrificio natural, removiendo hasta que se tibie.. Entonces y sólo entonces ir mezclando con cuidado la nata de ternura bien montada hasta que la ternura suavice la acidez del sacrificio.. Aderezar finalmente con unas gotitas de licor de lágrimas que purifica el alma y disuelve las penas.. Para acabar poner mucho cuidado en cómo lo vais a servir.. Adornarlo con unas hojitas de diente de sabio y pétalos de flor de conciencia.. 7.. JOAQUÍN ARIAS.. (+).. 8.. MOVIL(IZANDO) LA PAZ.. La PAZ es una construcción social, en la cual participamos todos los que creemos en ella; como estado del cual partimos para construir otro mundo, que es posible y que existe en los millones que nos manifestamos por ella.. En esta espera de construir mejor las cosas, seguramente aportaras a construir este móvil, que lo puedes colgar en tu ventana junto al sol y a las brisas y que estos accionaran en darte PAZ.. Y recuerda lo que dicen los mas viejos de mi barrio:.. si no quieres cansarte de la guerra; no descanses en la PAZ.. Para armarla solo necesitas una tijera, goma de pegar, un hilo y ganas de verla girar.. PAZ-ciencia y a seguir las instrucciones.. Instrucciones.. Imprime la imagen en un papel satinado tamano A4 (1).. Recorta en las cuatro caras, pega de manera que se vean los colores, las caras 1 y 4, y las caras 2 y 3.. Una vez obtenida dos tiras de colores (en ambos lados), forma un angulo de 90 grados con ambas, las tiras 1 y 4 van encima de las 2 y 3.. Alli veras que se forma la letra P de color verde sobre un triangulo rojo.. Rebate 180 grados la tira formada por las caras 2 y 3 sobre la otra (2) iras formando cuadrados superpuestos.. Hazlo hasta finalizar las tiras.. Abre la guirnalda y leeras en sus cuatro caras la palabra PAZ.. Haz un pequeno agujero en el vertice superior de la letra P y cuélgala donde le de el sol y las brisas.. Seguramente a ti se te ocurriran ideas para mejorarlo y verlo en acción.. (1) Lo del tamaño y la calidad del papel son sugerencias.. (2) Método para armar guirnaldas como se dice en mi barrio.. 9.. ANDRÉS RODRÍGUEZ.. JUGO DE NARANJAS.. Córdoba.. Exprima un par de naranjas frescas en un vaso; a ser posible de cristal transparente.. Bébaselo de un trago intenso.. Una vez bebido, abra la boca y expire.. Justo en ese instante usted será incapaz de aprehender en una palabra la sensación que ha experimentado.. No lo intente; limítese a buscar a alguien cercano.. Cuando lo encuentre convénzalo para que le acompañe hasta la cocina.. Una vez en la cocina, coja otras dos naranjas frescas, exprímalas en un vaso de cristal transparente, e invite a esa persona a beberse el jugo de un trago intenso.. Observe como no es necesario que usted le indique que ha de abrir la boca y expirar tras la ingestión del zumo.. Expirará y, con toda probabilidad, sonreirá.. Usted también sonreirá.. No sabría explicar porqué, pero lo harán.. Incluso me atrevería a pronosticar que se mirarán a los ojos durante unos breves segundos; el tiempo suficiente para comprender la leve hermosura de compartir.. 10.. MARIO SARRAMIÁN.. RITUAL EN LA SALA DE SER DE TU CASA.. Siempre he oído hablar de la sala de estar , y sólo de ella, como esa habitación de la casa en la que uno está, solo o acompañado, haciendo lo que  ...   insistido mucho en la importancia del afecto y del diálogo, cómo único antídoto para superar el shock y trauma producido por lo vivido el 11-M.. Los efectos han sido mayúsculos desbordando por entero la ciudad de Madrid, tanto, que se ha sufrido por entero una especie de catarsis multitudinaria y que ha supuesto un cambio de la percepción de la realidad difícilmente asimilable.. ¿Quién se acuerda del miércoles anterior al fatídico 11-M? Es por ello, que la acción de cambiar el espacio cotidiano, el color habitual de nuestro espacio íntimo y privado, se abra a un acontecimiento solidario mediante el abrazo y el diálogo.. El resultado del gesto es la memoria de la solidaridad que viste la casa con un nuevo color consensuado con otros.. Nadie queda indiferente.. La propuesta cambio de color consiste en un breve texto:.. Cambio de color.. se invita a cualquier persona a pintar la casa,.. se habla sinceramente y se escucha,.. se propone a los presentes ayudar a elegir un color conveniente,.. se dialoga largo y distendido,.. se pinta entre todos,.. cambio de color,.. al finalizar la acción, se abrazan todos.. 28.. AUDREY, SHILPA AND APRIL.. Women at the Academy of Art College Photo Department Administrative Office.. POOL OF HOPE.. To remind themselves and others of hope in times of great need.. Find a bowl, large or small (use a baby pool if you have the room), and fill it with water.. In this peaceful bowl of water float a few flowers.. (We recommend Almond Blossoms Ð symbols of hope, or Zinnia Ð symbols of remembrance.. ) These flowers will serve to remind you of brighter days.. They will also be a reminder of the natureÕs cycle Ð as they wilt and need to be replaced.. This simple gift of peace and hope can be shared when you visit a friend.. Just bring a flower to float in their pool of hope.. Some could also bring floating candles.. Burning candle has always been a tradition in many cultures of the representation of the Eternal Soul.. The water has the strength to make anyone feel calm and peaceful instantly.. Also, seeing your own self in form of reflection builds hope for the future.. Be sure to take the time to notice the flowers and your own reflection if ever you are in need of help.. Remember, we all are with you.. 29.. MIGUEL ÁNGEL MADRIGAL.. 30.. ANTONIO BRODSKY.. Mi receta para la esperanza, de todos, pero en especial para aquellos que han perdido a alguien, aunque la esperanza de todos ha sido trastocada, es simple: ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ.. ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ.. Mirad, como una ciudad se pone de pie, como resurge con pasos agigantados desde su profundo dolor.. Siente a su gente aclamando las voces que faltan, allanando los espacio que habíamos olvidado, no dejando a nadie atras; ya no habrá resagados, todos iremos adelante, en primera fila; avanzando como una ola azul, y hechaÊdeÊlágrimas.. Mirad estas lágrimas, bellas donde las haya, arrojar su esperanza contra los muros, miradlas reflejando horas de libertad.. Salid a laÊ calle, y respirad el murmullo de los corazones, porque todos laten al mismo ritmo, todos sangran la misma sangre.. Salid a la calle, y sentid las manos apretadas de un pueblo que se niega a olvidar.. ÊÊAvanzad con el destierro en el alma, sobre las calles humedecidas de la ciudad, de miles de ciudades, como un grito infranquiable, un grito hecho de miles de voces, un grito de esperanza.. Salid, mirad, avanzadÊsobre las heridas, sobre la sangre, sobre el dolor.. Y venid con nosotros a constriur la libertad Ê Ê.. 31.. RAÚL E.. ROJAS ROSAS.. (À) ERES CAPAZ DE HACER ALGO MÁS (?).. Esta receta de esperanza no pretende exigir esfuerzo alguno a quienes han padecido directamente el dolor, la crispación y la angustia provocadas por hechos tan violentos como los perpetrados recientemente en Madrid.. Por el contrario, va dirigida a todos los que estamos del otro lado de la tragedia y pensamos que no podemos hacer nada salvo encender una vela roja, asistir a manifestaciones, rezar, ir hasta atocha para curiosear en los recuerdos, guardar un minuto de silencio, contabilizar víctimas, seguir religiosamente el telediario, o superponer -hasta la saciedad- lazos negros sobre los vivos colores de la bandera española.. Es decir, aspira a que quienes ofrecimos muestras de solidaridad, entreguemos algo más y demos un pequeño paso en aras de sobrepasar éstos repetidos gestos simbólicos hasta transformarlos en acciones efectivas.. Para ello la labor consistiría en distribuir etiquetas con frases breves que recuerden a cualquier persona, en cualquier momento, que existe siempre alguien dispuesto a ofrecer lo mejor de sí por cada uno de nosotros.. Apoyándonos en el poder omnipresente de los medios y productos de uso-consumo cotidiano (¡a veces sue–o que logramos invertir el talante negativo de su sobrada capacidad para manipularnos!), intercambiaríamos deseos y prescripciones empeñadas en alimentar la esperanza de aquellos que creen perderla.. En caso de que algunos interpreten los mensajes como algo interesado, sospechoso e increíble, tengan en cuenta que una sensación así puede ser síntoma de una sociedad poco comprometida con el bien ajeno.. No obstante, hemos sido convocados por El Ojo Atómico a aportar ideas con la esperanza de que la sensibilidad moral se fortalezca tanto como para soportar el peso de nuestra responsabilidad hacia toda situación de angustia, sufrimiento y miseria humanos.. A fin de cuentas, probablemente, la clave de un problema tan vasto como la justicia -y solidaridad- social resida en un problema de una escala tan (ostensiblemente) peque–a como el acto moral de aceptar la responsabilidad hacia el Otro que tenemos al lado, a nuestro alcance, hacia el Otro como Rostro.. 32.. NO HAY RECETAS, PERO HAY PLATOS COMBINADOS,.. Estuve también a 3 minutos andando del almacen de Tati cuando explotó en París, por casualidad habia decidido coger el metro siguiente.. Voy a recordar toda mi vida la ducha fria que tuve que tomar para calmarme.. Me gusta la idea de participar, mas que todo porque me siento muy atrapada en el cinismo de un acto tan bárbaro como el del Terrorismo.. Es lo que ellos buscan, que me sienta mal, por eso tengo que buscar otra vía, no puedo resignarme al terror.. Como el viernes 12 de marzo, por la noche frente a la Embajada de España en París, durante la inauguracion de la expo.. de Santiago Sierra en los suburbios de la capital, todo el mundo estaba desesperado.. En cambio en el mercado de fruta aquí en el suburbio norte de París donde vivo y donde hay una mayoría de comunidades culturales distintas este domingo por la mañana todo el mundo decía ¡Viva España!, como única manera de ¡Seguir adelante! El censo común tiene recursos fuertes, de los cuales hay que estar atento y saber compartir con los demás.. Esto me decía que para proyectarse hacia adelante hace falta tener en cuenta las circunstancias en las cuales se inscribe la tragedia del 11 de marzo.. Esta manera de seguir adelante , la conocemos y la admiramos, pero la reciente democracia española hace pensar que todavía falta en este país un trabajo de reflexión trans-generacional para ir hacia adelante.. Existe un problema de transmisión de la historia reciente de vuestro país, un problema muy grande sobre el cual habría que trabajar (pienso que lo tenemos también en Francia).. Muchas familias han sufrido: desde la migración masiva al norte de Africa (o a Francia), la deportación, la guerra civil y el fascismo.. Ni los golden boys de los años ochenta, ni los políticos correctos de los 90 han aportado una reflexión constructiva sobre estos antecedentes.. Ahora, con esta tragedia, nos damos cuenta que es siempre el pueblo el que paga por la falta de valorización de la gente, por el sentimiento orgulloso de un gobierno que se apoyaba por los gordos en vez de encontrar su propia dinámica.. Para enfrentarse a un sentimento común de vacío político y de construir otra dinámica, es fundamental valorizar lo que uno es y hace dentro de la realidad mundial que nos rodea, en vez de siempre pensar que los demás lo hacen mejor/o peor.. No hay modelos mejores o peores, la única manera es trabajar nosotros mismos dentro del contexto global.. A nivel historico/cultural, ¿Cómo luchar contra la amnesia? ¿Cómo dar forma a mi vida dentro de tanto vacío, y tanta información que muchas veces llena en vez de dar el conocimiento necesario para el desarollo de un bien común?.. Las recetas no existen,.. pero se combinan los platos de distintas culturas.. Para hoy,.. Cècile Bourne.. 33.. CECILIA NORIEGA-BOZOVICH.. Mágico serÍa dar una receta para que a todos los españoles les funcionase, y pretenciosa, yo, si aspirase a que mis palabras llegasen a un corazón dolido.. No obstante, aquí mi mirada acerca de lo que esta España sangrante, me inspira:.. España país de cielos hermosos,.. tu aire se envenenó cuando.. 13 flores negras.. cargadas de locura y fanatismo.. retorcieron los hierros y pintaron los rieles de rojo.. cuando pelaron las pieles.. y mutilaron esperanzas de unos trabajadores, estudiantes,.. madres con niños.. en Atocha.. Pueblo español estoíco y solidario.. fluían por las arterias de pavimento.. tus gritos.. en desgarrador silencio.. para coagular las de tus compañeros.. desangradas.. Amigos, hermanos españoles.. gran enseñanza nos dejan.. a las jóvenes democracias.. como la mía.. la de tantos.. que yerran y se tambalean.. porque.. frente al dolor no te escondiste.. frente al cinismo respondiste.. y en las urnas.. un toro noble bramó.. ¡basta, ya!.. Y.. es que cuando las palabras ya no alcanzan.. entonces.. el silencio.. para escribir la historia.. 34.. JOSÉ ANTONIO CASIANO.. Para Madrid,.. Los terribles eventos del 11 de marzo me hacen reflexionar sobre la manera en la cual el mundo gira y nuestros principios son cuestionados y debatidos.. 1898.. Después de 500 años bajo la bandera española, un puertorriqueno ve a su isla pasar a manos americanas sin consentimiento alguno.. La madre patria se retira de nuestro lado, dejando al hijo caribeño con su nuevo patrono.. Lágrimas y llantos, pero la partida era inevitable.. Madre patria ausente, pero siempre viva en cultura, idioma, religión, y moral.. La bandera americana ondea sobre suelo borincano por generaciones.. La madre no se olvida.. El patrono nos lleva en sus aventuras.. El boricua va a Europa, Japón, Korea, Vietnam, Panama, Kuwait, Serbia, Iraq.. Aventuras que nos distrean de nuestros dilemas internos, de nuestros debates culturales.. 11 de septiembre del 2001.. El patrono es insultado, el boricua ve a su defensor llorar como nunca lo habia visto.. Todos somos sensibles, todos tenemos ilusiones.. Ahora muchas estan rotas, ahora muchos nos cuestionamos.. Nueva York tiembla y nosotros con ella.. 11 de marzo del 2004.. Madrid, Madrid, Madrid.. Quién diría que alguién tocaría a la madre patria.. Madre ausente, pero en el alma.. Furia, dolor.. Busco ver las noticias, pero solo se habla de las primarias americanas.. Llamadas, busquedas.. ¿Madrid, por que estas tan lejos? Quisiera volver a estar a tu lado.. Madre, no llores, ya volvere por ti.. Reflexiona, seca tus lágrimas.. Crece adentro y continua tu paso.. Vive, vive como tu me has ensenado a vivir.. Ama, sigue amando con la pasión que solo tu llevas en ti.. Vive y ama, pues solo asi puedo consolarme de que ambos vamos en la dirrección correcta.. Que nuestros caminos se encuentren a través del amor y la pasión; mientras el dolor se aleja para no volver.. A los companeros madrileños y al.. Ojo Atómico.. Pensamientos de.. José Antonio Casiano.. , un puertorriqueno en Nueva Orleans.. 35.. M.. M 2004.. Igual que en un escenario.. finges tu dolor barato,.. tu drama no es necesario.. conocemos tu teatro.. Mintiendo que bien te queda el PP,.. despues de todo parece que esa es tu forma de ser.. TÚ confiabas ciegamente.. en el voto de tu gente,.. mentiste serenamente y el PP CAYÓ por eso.. ¡Ay FASCISMO!, lo tuyo es puro FASCISMO,.. Libertad bien controlada, juego sucio y TERRORISMO,.. fué tu mayor actuación estrozar a la nación.. y hoy que nos lloras tus penas,.. recordamos tus CONDENAS, ATENTADOS Y DOS GUERRAS.. FASCISMO, lo tuyo es puro FASCISMO.. 36.. MANUEL MOCHALES Y RICARDO DÍAZ.. Queremos ser y sentirnos madrileños después de la masacre del 11 de marzo.. Porque envidiamos vivir, compartir, disfrutar de una ciudad que, minutos después de lo acontecido, ha sabido sacar a la luz todos los ingredientes de los que debe estar compuesto un SER HUMANO de bien para formar parte de una comunidad.. Unos ingredientes que han demostrado la valía humana de los madrileños y de todos los que a diario tienen la suerte de respirar la esperanza en Madrid.. No creemos necesario buscar ingredientes nuevos para la esperanza, aparte de los demostrados en sus calles el 11 de marzo: AMOR-TOLERANCIA-MADUREZ DEMOCRATICA -UNION-SOLIDARIDAD.. Ya es bastante, ¡¡¡Enhorabuena!!!.. 37.. EMILY DECARLO.. Aquí hay dos fotos de esperanza para todos los que han sentido el dolor del 11 de marzo.. Aunque el mundo no está seguro y hay incertidumbre en todas partes, las alegrías del ser humano vienen de la gente del pueblo, de las reuniones.. Juntos podemos desarrollar el futuro pacífico que está idealizado en la mente.. 38.. CORINA APARICIO GUTIÉRREZ.. He intentado comenzar este escrito de mil.. maneras.. son mi estómago mi cabeza y mi corazón.. que no me dejan decidir.. Que es lo espeluznante, sino algo que no nos puede.. poder.. Pero que paraliza nuestros sentidos,.. destruye, borra, se nos burla si lo dejamos.. Arranca las flores y vuelve el aire irrespirable,.. nos golpea, nos asfixia, nos acecha y después.. escurre el bulto.. Un silencio malo que no te habla, te castiga y te.. sume en su silencio gris.. Pero:.. Frente a lo espeluznante, puede encontrarse la.. poesía y el silencio.. Pero el silencio bueno.. Aquel que da voz a los recuerdos, escuchar el.. corazón y las risas, los besos y la sonrisa fácil.. El sonido de las tripas y las manos que se.. agarran, las voces dulces y las.. buenas intenciones.. Los ojos que buscan respuestas y los.. buenos olores y sabores.. Una voz familiar, una.. respiración profunda, una carcajada, un.. recibimiento con los brazos abiertos.. Unos pasos.. que reconoces al igual que unas caricias que.. siempre serán tuyas, un amor que está en tu piel y.. sólo tú puedes oler de dia y de noche y siempre.. que quieras.. y la luz del verano y el sol que.. tanto nos necesita y la arena de la playa pegada.. al cuerpo y el aguacero de verano junto con sus.. dias largos que tanta esperanza nos dan.. Y yo le canto una canción a lo espeluznante y así.. no le permito ser; y me río y me río y me río de.. él.. Estaba la pájara pinta sentadita en un verde.. limón.. Con el pico recoge la hoja con el pico recoge la.. flor.. ¡Ay mi amor!.. Me arrodillo a los pies de mi amante.. Me arrodillo feliz y constante.. Me arrodilla a los pies de mi amada me arrodillo.. Porque me da gana.. Dame una mano dame la otra ,dame un besito salado.. en la boca.. Aquí la media vuelta.. Allá la vuelta entera.. Aquí un pasito atrás con toda la reverencia.. Pero no, Pero no , Pero no Pero no que me da vergüenza.. Pero sí, Pero sí, Pero sí.. Resalado te quiero yo a ti.. Y espero que como decía Baudelaire; se siente.. el.. amor en el cráneo de la humanidad y soplemos todos.. alegres burbujas que en el aire suben.. 39.. 40.. 41.. Photographed by.. VINCENT WÖRNDL.. 10 years.. 42..

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  • Title: ANTIMUSEO
    Descriptive info: THE END OF FAIR TIMES.. Artists:.. ALAIN DECLERCQ, LUKAS EINSELE, MARCELO EXPÓSITO, JONATHAN HERNÁNDEZ, ENRIQUE JEZIK, CECILIA NORIEGA-BOZOVIC,.. YOSHUA OKÓN.. Curator:.. TOMÁS RUIZ-RIVAS.. 04 - 29.. 05.. Did the invasion of Iraq imply a shift in the ethical and political models of the West? And if there was a change, was it a profound one? Was it significant? Or was it just another pathology of modernity?.. was an exhibition intended to offer elements of reflection and analysis regarding the political and ethical consequences of the Iraq invasion.. The title implicitly asks the question of whether justice has disappeared as a principle—at least a formal one—in political decision-making.. The definitive disappearance of enlightened thought.. In general terms, The End of the Era of Justice was a reflection on violence as a political tool, and the crisis of the State in the age of globalization.. Goethe Institut Madrid.. Embajada de Francia.. Secretaría de Relaciones Exteriores México.. Galería Enrique Guerrero (México).. Galería gráfica La Caja Negra Ediciones (Madrid).. JONATHAN HERNÁNDEZ.. YOU ARE UNDER ARREST.. Jonathan Hernández's.. work consists of a small-format book entitled You Are Under Arrest.. It includes press photographs of arrests, from the moment when the police detain an individual to the transportation of detainees, all published between 2000 and 2002.. It should be pointed out that the notion of security and social awareness of it changed radically during this time, due to the terrorist attacks on the World Trade Center in New York in September 2001.. In total, there are 116 photographs, and in most of them the detainee is the main character.. This transmits a disturbing sensation to the viewer, because the vulnerability of the person who has been handcuffed and dominated by anonymous uniformed individuals becomes the connecting thread of a narrative without a plot.. PULL OVER.. Pull Over.. project is a series of nine videos in which police officers in Mexico City are documented in situations of different kinds and intensities of manipulation.. In the case of.. Cop I.. ,.. Yoshua Okón.. confronts the police officer with a video camera, thus provoking an absurd argument.. In.. Cop IV.. Okón.. simply asks the officer to demonstrate his skill with a nightstick, and the rest is history.. Cop V.. pays the officer to perform a square dance.. Cop IX.. is pulled over by a police car, and documents the bribe he pays the officers to let him go.. Above all, these videos demonstrate the fragile ethics of Mexico's security agencies.. Much more than a localist interpretation, along the lines of the Mexican police are corrupt, what becomes very clear is the fact that agents of public order are salaried workers, and as such, potentially venal.. Faced with the idealized television images which we mentioned earlier, where the police appear as the ultimate guardians of social order, and generally as individuals—in other words, as heroes who must challenge the system to achieve justice—in.. Yoshua Okón's.. videos, the police are also presented as individuals, but in denigrating situations, as antiheroes without poetry, who profit from the.. Artist web page.. DAY AFTER DAY, I THINK OF YOU.. MOTHER FUCKER and B52.. ALAIN DECLERCQ.. Day after Day, I Think of You, Mother Fucke.. r is a portrait of the U.. S.. Secretary of Defense, Donald Rumsfeld, who was directly responsible for the military actions in Iraq and for such things as the use of torture in the Abu-Ghraib prison.. It is a large drawing—about 170 by 170 centimeters—and the artist created it by drawing short lines six to eight millimeters in length on the wall using a thin marker.. In total, it took six markers and over fifty hours to complete the work.. The method is intended to evoke the classic image of a prisoner who counts off the days served in his sentence by scratching lines on the cell wall.. Like the work by.. Cecilia Noriega-Bozovich.. , this piece explores the representation of political power and its symbolic mechanisms.. The discursive capability of the politician's effigy, as  ...   by the cameras, which has been reedited to form a dull roar pierced by explosions and screams.. ONE STEP BEYOND– REENCOUNTER WITH THE MINE.. LUKAS EINSELE.. Another work in this exhibition that confronts us with military scenarios or events is that of Lukas Einsele, One Step Beyond: Reencounter with the Mine, a project developed in collaboration with Andreas Zierhut.. Seven large-format inkjet plotter prints were presented, forming part of an ambitious project which the artist has been developing over the space of several years.. An investigation into antipersonnel mines, focusing on their victims and the difficult process of readaptation to everyday life following mutilation.. The most frequent damage inflicted by the mines is the loss of a leg.. The concept of One Step Beyond, explains Einsele, is based on real-life narratives, objective investigation and graphic documents.. Men, women and children wounded by the mines discuss the details of the tragedy and the moments immediately before and after the explosion.. Lukas Einsele has traveled to Angola, Bosnia-Herzegovina and Afghanistan—the source of the documents included in The End of the Fair Times—as well as to Cambodia.. Einsele hopes to establish a visible and comprehensible relationship between antipersonnel mines and their victims.. There is no compassion or sentimentalism in these images.. On the contrary, they are beautiful photographs that allow us to discover places marked by hardship without harshness, in the same way that these victims of tragedy retell their experience with absolute naturalness, with the resignation of someone who has suffered an illness or a natural disaster.. War appears here like a permanent condition, not an exceptional moment.. Decisions made in remote times and places continue to exert an effect years later, when the people responsible have already forgotten their acts and the reasons for them.. BETWEEN DREAMS: MAY 1.. MARCELO EXPÓSITO.. The show closes with a video by.. Marcelo Expósito.. entitled.. Between Dreams: May 1.. With a forty-five-minute duration, it is a long and complex film, showing the socioeconomic transformations that have led to the emergence of what is known as post-Fordism, and its effects on labor relations and ideas related to the urban space or fundamental political action.. The large Fiat factory in Lingotto, Turin—since transformed into a massive multipurpose center measuring more than 250,000 square meters which provides different kinds of services (convention center, fair center, commercial areas, theaters and movie theaters, a museum, a hotel…)—is the focal point of the film's narrative and exemplifies the move from a secondary-sector industrial economy to a tertiary-sector service economy, and the substitution of the industrial proletariat for a socially and politically disjointed urban precariat.. Marcelo Expósito combines a diversity of materials: segments of a lecture by the political ideologue Paolo Virno, some scenes from old commercial films featuring Fiat or Berlin, the symphony of a large city in Ruttmann (1927), interviews with Italian activists and shots of a May Day parade in Milan—all intercut with a clandestine documentary of the Lingotto center to offer a complete overall vision of these transformations.. A text by the artist entitled, Disobedience: The Imaginative Hypothesis, exploring the relationship between new political and artistic practices, was also distributed (.. http://usuarios.. lycos.. es/pete_baumann/marceloexpo.. htm.. ).. This piece does not deal specifically with the exhibition's central themes (violence as a political tool, the corruption of the notion of justice and the crisis of the modern State), but we decided to include it because despite this fact, it does not break with the exhibition's coherence, but rather, reinforces it.. The way in which it presents new forms of social conflict, representations of the public space as a space of conflict, and, in short, the evolution of capitalism, allows us to understand that it all forms part of the same logic, and reconnects remote realities—such as the lame cyclists of Afghanistan, the corrupt police of Mexico, night bombings of Baghdad—with our own context, i.. e.. that of the European middle class.. This relationship is the basis for our understanding of the violent logic of Capitalism..

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  • Title: ANTIMUSEO
    Descriptive info: MARX UPDATE.. BIG HOPE, MARCELO EXPÓSITO, OLIVER RESSLER, UNIVERSITÉ TANGENTE Y TOMLAVIN/MARIO ACHA.. TOMÁS RUIZ-RIVAS.. Projects :REPUBLICART.. NET, LA FIAMBRERA OBRERA, CRITICAL ART ENSEMBLECODE RED, B+B, THE CENTER FOR LAND USE INTERPRETATION, SOCIAL IMPACT PROJECT, BRUMARIA, PROJEKTGRUPPE Y LEGAL / ILLEGAL.. 12.. 04 - 31.. 01.. This exhibition had one basic objective, which was to defend a specific role for the artist: as a producer of a critical discourse and an agent for social and political transformation.. The show was also programmatic in nature: it proposed a revision of Marxist thought as a point of departure for the construction of the artistic project.. Based on these premises, we addressed a number of issues.. First, we hoped to contribute to the wide-ranging debate on the possibilities for making art from a Leftist perspective.. Secondly, we wanted to establish connections between the local scene and a specific European art scene with a coherent and insightful political expression.. The exhibition offered modes of work and organization that could be adapted to the complex context of Madrid.. clearly fell within the.. Ojo Atómico's.. overall objective of transforming Madrid's cultural panorama, with all the sociopolitical changes this implied, and more specifically, it influenced the line of thought that we are developing with regard to the importance of alternative art management, the lack of validity of conventional cultural institutions, and the analysis of diverse pathologies of the local art system which, as we have pointed out elsewhere, are a reflection of the pathologies suffered by Spanish society.. But this show was also an invitation: an invitation to read Marx, to reflect, but above all, to adopt positions, to define attitudes and objectives, and to collaborate on the ongoing task of cultural transformation that we have shouldered.. Four years after the exhibition and the writing of the first text, the international economic crisis has led to a revival of Marxist thought, and people are once again reading Capital on a massive basis.. The exhibition is divided into two levels, which tend to become confused and intermingled to the benefit of the show as a whole.. On the one hand, there are five pieces in the traditional sense of the word:.. The Global 500.. , an installation by.. Oliver Ressler.. ;.. Commonopoly.. , by the collective.. Big Hope.. ; a map entitled.. The World Government.. , by the.. Université Tangente.. Between Dreams: May 1st.. , a video by.. , which was also presented as a part of the show,.. ; and.. Informal Economy.. , a multidisciplinary project by.. Tom Lavin.. , with the collaboration of.. Mario Acha.. as photographer.. The second level is a selection of documents and publications by collectives and artists who work in the wider spectrum of topics related to our objective: from theoretical explorations of art's function in society to political activism based on artistic resources.. The selection includes:.. Republicart.. net.. la Fiambrera Obrera.. ,.. Critical Art Ensemble.. Code Red.. , B+B,.. The Center for Land Use Interpretatio.. n,.. Social Impact Project.. Brumaria.. Projektgruppe.. , as well as the magazine Journal for Northeast Issues, and the catalogue for the exhibition Legal/Illegal.. The selection is also open to new material contributed by the public.. Goethe Intitut Madrid.. Foro Cultural de Austria.. Embajada de Hungría.. COMMONOPOLY.. BIG HOPE (MIKLÓS ERHARDT, DOMINIC HISLOP ELSKE ROSENFELD).. project was created by the artists.. Miklos Erhardt.. of Hungary and.. Dominic Hislop.. of Scotland in 1998, motivated by a common interest in discussing strategies of commitment to social issues in art, as well as communication with a wider public.. Since then, they have worked on a number of joint projects in photography, video and city maps, frequently involving different fringe groups of society, such as homeless people in Budapest (Inside Out, 1998) or immigrants in Turin (Reroute, 2002).. One of the main objectives of these projects has been the empowerment of individuals through self-representation.. In this type of project, the artist's role is that of mediator, preparing a framework for dialogue, monitoring the process, providing new directions and finally, presenting the results.. The experience of this praxis has given us a certain degree of flexibility and sensitivity for negotiating territories outside the traditional bounds of art.. Elske Rosenfeld.. has joined forces with this group to work on a series of shows entitled Talking about Economy/ies held at ICA-Dunaujvaros, Hungary; SparwasserHQ, Berlin, Germany; Hamburger Bahnhof, Berlin, Germany; and OK: Offentlische Kulturhaus,  ...   of knowledge, and cultural or artistic practices domesticated by the State or by the market.. As such,.. creates and sets forth its own forms of life, exchange, knowledge and justice.. Tangente, the manifest university, produces and disseminates unique, autonomous and multidisciplinary human knowledge: expressions of existence, modes of action and group organization that emerge from an experience of the world.. It works toward the existence and persistence of Otherness, for the unhindered movement of people, the development of South-South relationships, the development of autonomy and the implementation of free education.. With the creation of the Université Tangente, we would like to view it as a place free of exams and tests, open to all as a matter of principle.. A place for social deconditioning, where the participants are the co-producers of the university.. info Université.. Single-channel vídeo.. May 1.. is the first production of the.. Between Dreams.. project, launched in 2001 by.. seeks to function at a political crossroads between the present conditions of the metropolitan space and representations of the public space as a place of conflict.. In this context, the project operates along two lines of force: in one sense, the archetypal dimension of certain historic representations of the city; in another, the degree to which the social movements of the new generation have split with how the city has historically constituted the quintessential public space, in which the subjects of conflict expressed their visibility to then understand the metropolitan space itself as a new territory for production and work, a place where conflicts related to the self-governance of life take place.. The central point of reference of the film.. is the May Day celebration, the festival of the social precariat, held in Milan for the third year in a row in May 2003.. The video focuses on the symbolic dimension of May 1 as the antagonistic Labor Day for the historic labor movement, and the transformation of this date brought about by the May Day celebration, which is configured as a new vehicle for the subversion of the metropolitan space by social subjects that emerge from the new contradictions between capital and social work.. The video incorporates images from the Milan May Day, presented along with several interviews with Italian activists and other visual points of reference: for example, the transformation of Turin's Lingotto (one of Fiat's classic production plants, currently a large shopping and convention center and an office building), and the manner in which it visualizes the transition to the post-Fordist production model.. It also presents other points of reference such as the 1987 May 1 celebration and the riots in the Berlin district of Kreuzberg during the demonstrations against the International Monetary Fund, as well as the Labor Day demonstrations filmed in the Rosa-Luxemburg-Platz of East Berlin before the fall of the Berlin Wall.. INFORMAL ECONOMY.. TOM LAVIN / MARIO ACHA.. presents a phenomenon known as the informal, underground or parallel economy, or the black market.. This is the sector of the economy that does not show up in official statistics, and in which transactions are primarily cash-based and do not report taxes.. In other words, the informal economy eludes the capitalist dynamic, creating a transitional zone between pre-capitalist and capitalist modes of production, where the labor force does not generate capital gain and is outside of State control, revealed here as a tool for the organization of production.. The informal economy includes workers which the employer does not register with social security, like street vendors, particularly those of pirate CDs or knockoffs of luxury item, as well as freelance professionals who do not declare their earnings and drug dealers.. It is a very complex reality, and in some countries, the informal economy accounts for eighty percent of yearly man-hours.. Some economists have estimated the world product of the informal economy as the equivalent of the gross domestic product of the United States.. Tom Lavin's.. project focuses on street vendors, as an activity with the possibility of being formalized, unlike drug or arms trafficking.. As such, this activity exists in open dialogue with the institutions of the countries where it is carried out.. Street hawking also transforms the urban space, reterritorializing it and altering the relationship between the public and private in a diametrically inverse direction to that of the commercial districts of European cities.. Research and photographic documentation was done in Mexico by..

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  • Title: ANTIMUSEO
    Descriptive info: LOVE PARTY 1.. Artists:.. MARÍA MARÍA ACHA, DISCOTECA FLAMING STAR, LARDÍES / BANDÍN.. Curator:.. Love Party.. is a celebration of life and liberty: an exhibition designed as a party, with the intention of recovering sexuality as a space of conflict in the individual's negotiation with society.. Three performances, a selection of websites and five porno-romantic videos complete the program for the first edition of Love Party.. With support of:.. Goethe-Institut Madrid.. DISCOTECA FLAMING STAR.. A Berlin collective made up of.. Cristina G.. Barrio.. and.. Wolfgang Mayer.. In their performances, they act as a rock group, covering well-known songs.. But they have no musical training and their versions, which have been known  ...   PARTY.. LARDÍES / BANDÍN.. Argentinean artists residing in Madrid.. They produce fotonovelas about love in its most extreme and devastating expressions.. The fotonovelas are presented in sequences of animated slides using an intentionally crude system, consisting of covering and uncovering the projector's lens with one hand.. Approximate duration: ten minutes.. LOVE CARDS.. MARÍA MARÍA ACHA.. A Peruvian artist living in Madrid.. Her work deals with the female condition and the world of women's relationships and proclivities.. Her project for Love Party 1 is a tarot deck called Love Cards.. She designed the deck, and during the performance sessions, the artist reads the cards of anyone in the public that wishes.. Undetermined duration..

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  • Title: ANTIMUSEO
    Descriptive info: HOW SHALL I LOVE YOU,.. MY LITTLE NEW ONE?.. NILC / MIGUEL VENTURA.. 05 - 20.. Foto:.. Pepe Abascal.. NILC (New Interterritorial Language Committee).. is a fictitious institution created by.. Miguel Ventura.. for the conception, diffusion and imposition of a new linguistic system.. NILC.. was inspired by the East African Interterritorial Language Committee, or ILC, which from the 1930s to the 1960s was devoted to the standardization of African languages, particularly Swahili, which it endowed with spelling, grammar and vocabulary based on European systems.. is a caricature of some groups' arrogant contempt for the oppressed and the subjugation and virtual rape of an entire culture through the appropriation of its language.. NILC.. embodies the obsession that totalitarian regimes have with power and control and the dream of creating a new man.. At the center of.. is Heidi Schreber, an idealized Aryan girl whose golden braids twist into designs that form the basis for the thirty glyphs in the New  ...   to overcome his weakness and transform his pathology into something useful for post-revolutionary society.. The healing process involves the consumption of thirty cookies in the form of the thirty glyphs—apparently made of excrement—which will impregnate the patient with the new language.. The society created by.. is a kind of brave new world full of paternalistic myths.. A society of State-approved and -imposed pseudo-scientific dogmas.. It is yet another fantasy of social engineering that has been perverted, but in which control and power are not achieved by force but rather—as in Orwell's 1984—by means of the creation of a new reality through the manipulation of language.. has created a strange nightmare that obsessively reflects our globalized world.. With the presentation of this exhibition, we also hope to spark discussion of the political dimension of language, in a context where the most serious political conflicts focus on language.. With funding from:.. Mexican Secretariat of Foreign Affairs.. CONACULTA.. Bancomer.. Aeroméxico.. Nina Menocal Gallery..

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  • Title: ANTIMUSEO
    Descriptive info: MASS GRAVE.. GÜNTER SCHWAIGER.. and.. Since 2005.. Theda Acha.. A project on the dissappared of the Franquist era.. The Fascist coup d'état led by General Francisco Franco against the Spanish Republic in 1936 was met with unexpected grassroots resistance, leading to a long and bloody civil war.. Though many decades have passed since that time, Spanish society is still haunted by many ghosts from the past.. The military campaign led during the coup was complemented by the organization of a program designed to exterminate any and all opposition.. It was carried out by State security forces, in particular the Civil Guard, the Falange fascist party, the clergy and civilians who supported the coup.. One system that was used in rural areas to carry out the extermination was the following: in every town, people who supported the coup were required to draw up a list of those who opposed it or were suspected of doing so.. This list was turned over to the fascists of the neighboring town, who captured the named individuals and assassinated them on the outskirts of town, where they were buried without any further ado.. In this way, destinies and testimonies were lost in obscurity, and this same darkness was ensured for future generations.. The system was not only gruesome, but also highly efficient.. The decentralized system left no documentation or record of the scope of this operation, nor of its duration.. Civil society's involvement in these crimes threw an impenetrable shroud of silence over that period in Spanish history, and the mass graves of Franquism are a taboo subject that few are willing to discuss.. Association for the Recovery of Historic Memory.. (.. ARMH.. ) is a private organization  ...   seventy years later.. For the video installation.. , the film was projected on a wall and combined with other elements, including a map of Spain that.. outlined on the floor in earth gathered from the mass grave at Santa Cruz.. As members of the public walked over this map, they came into direct physical contact with the very soil where the bodies of six victims of the repression had laid for nearly seventy years, and at the same time, their steps moved the soil and blurred the map until it was unrecognizable, thus metaphorically repeating the disappearance of our historic memory: a memory that has been stolen and distorted, and a human drama of incalculable proportions.. The exhibition was rounded out with diverse documentary materials pointing out the connections between the crimes committed so many decades ago, the efforts to uncover the truth, which are inherent to democracy, and the personal experiences of the spectators themselves on coming into contact with earth from a mass grave, as they are forced to choose between remembering and forgetting.. Austrian Cultural Forum in Madrid.. With the collaboration of:.. Acknowledgements:.. Luis Gonzalo Martínez, Natasha García Lomas, Ediciones Despacio, Mobcoop Ediciones, Ángel Sáenz, Martin Eller, and the members and supporters of the ARMH who have offered us their testimonies.. 09 - 31.. 10.. PARA BELLUM 12mm.. (Curado por.. Andrea Aguado.. y.. Martí Peran.. CA L'ARENAS CENTRE D'ART.. MUSEU DE MATARÓ.. Barcelona.. 04 - 28.. 09.. SALA DE EXPOSICIONES DA CASA DAS CAMPAS.. VICERREITORÍA DO CAMPUS DE PONTEVEDRA.. Pontevedra, Spain.. 06 - 01.. 06.. ARGEKultur Salzburg.. Salzburg, Austria.. Photo:.. 08.. CENTRO CULTURAL DE ESPAÑA EN MÉXICO.. Mexico City.. INSTITUTO CERVANTES DE PARÍS.. Conferencia.. 05 - 28.. ANTIMUSEO.. Madrid, Spain..

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  • Title: ANTIMUSEO
    Descriptive info: LOVE PARTY 2.. GIZON GALDUA, PHILIPPE MESTE, ANNIE M.. SPRINKLE / ELIZABETH M.. STEPHENS / SHEILA MALONE, YOUNG-HAE CHANG HEAVY INDUSTRIES, CARLOS RANC, MARÍA MARÍA ACHA / THEDA ACHA.. 09 - 18.. The second edition of.. included works on gender, (trans)sexuality and representations of romance in contemporary society.. To mount the exhibition, we built a stage set representing an apartment, and inserted the pieces into the different rooms.. En collaboration with.. Escena Contemporánea.. DON'T COMPLICATE MY LIFE.. GIZON GALDUA.. Brazil/Spain, United Kingdom.. Video installation.. The work questions what lies behind the sex ads we often see in newspapers and explores the question of public and private—a topic of great interest in a world where the media's invasion of privacy and the proliferation of reality shows, web cams, etc.. turn us all into passive.. SPERMCUBE.. PHILIPPE MESTE.. France.. Here,.. Meste.. presented his project entitled Spermcube.. The intention here was to gather one cubic meter of frozen sperm preserved in a transparent refrigerated cube.. This was an international collective project, open to the participation of anyone interested, presented in collaboration with the collective.. No Me Compliques La Vida.. A donation center was set up in the gallery.. X-TREME KISS.. ANNIE M.. SPRINKLE and ELIZABETH M.. STEPHENS.. Camera: SHEILA MALONE.. United States.. A video installation about the love that forms part of.. Love Art Laboratory.. , a seven-year project in which the two artists explore love as a work of art.. Each year is based on the theme and color of a chakra, and begins with a wedding.. Throughout the year,.. Stephens.. Sprinkle.. work on multidisciplinary projects.. The year 2004–2005 corresponded to the color  ...   a diversity of materials, the artist combines architecture and design to draw attention to decorative devices which, when applied to the household space, are able to transform the limits of the images' settings in such a way as to recontextualize them.. These images may come from a real or virtual setting, and are manipulated by the artist in order to generate a reflection on the different relationships that we establish with public and private space.. The images that you will be able to see have contents explicitly sexual.. Prohibited the entrance to minors of 18 year.. CUNNILINGUS IN NORTH KOREA.. YOUNG-HAE CHANG HEAVY INDUSTRIES.. Korea.. Net Poem.. This Korean collective works with animated texts set to music which they post on their website.. For this show, we selected one that parodies the jingoistic discourses of the North Korean totalitarian regime, presenting the North Korean man's skill at oral sex as one of the greatest achievements of socialism.. View Net Poem.. BATHROOMS.. Perú/España.. Photos: María María Acha / Theda Acha.. A series of photographs of women pretending to urinate in the uncomfortable setting of a public washroom.. Bathrooms deals with a situation that requires different behavior from men and women, based on the premise that gender is not merely a biological reality but also a cultural issue that molds our bodies through behavior: men urinate standing up and their behavior in public washrooms is always the same, free of any conflict with the setting, while women are faced with a situation where they perceive themselves as comical or ridiculous.. The project was open to public participation on the day of the opening..

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  • Title: ANTIMUSEO
    Descriptive info: CODE : RED Madrid.. TADEJ POGACAR.. in collaboration with.. HETAIRA.. Desde 2006.. CODE : RED.. is a long-term, multidisciplinary and collaborative project that explores and discusses the sex industry and its informal economy and self-organizational models, as well as the interdependence between globalization, the feminization of work, and migration, human trafficking and prostitution.. CODE : RED.. comprises different forms of cooperation with experts, scientists and activist organizations to instigate research, activism and the formation of self-help groups, as well as public demonstrations, actions, exhibitions, etc.. The project's scope falls both within and outside of the context of contemporary art.. actively intervenes in existing conditions and seeks out new ways of changing them.. It also opens up the artistic space to deal with social, political and economic issues.. The project has evolved in several phases and formats:.. CODE : RED's.. first public demonstration took place at the 49th Venice Biennale in 2001, with the organization of the First World Congress  ...   acts were accompanied by public demonstrations, including the Red Umbrellas March in Venice, Golden Shoes in Times Square, New York, and Stripping with Marx in Berlin.. More recently,.. was presented at the 2005 Tirana Biennale and the 2006 São Paolo Biennale, where the DASPU fashion line created by the Davida group in support of prostitutes presented a runway show.. Madrid included two open invitations for workshops to create masks to be worn by Madrid prostitutes when participating in public demonstrations and actions organized by Hetaira*.. A presentation by.. Tadej Pogaca.. r, a talk organized by Hetaira and the projection of videos were other phases of the project.. The second workshop was attended by Nerea Calvillo and her first-year architecture students.. The masks were displayed at Hetaira's headquarters on March 15, 2007.. *.. is a collective involved in the struggle for the recognition of sex workers’ rights and solidarity with prostitutes, and against the social stigmas attached to this profession..

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