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

  • Title: ANTIMUSEO
    Descriptive info: THEORY.. LIBRARY.. SHOP.. About.. Archive.. Links.. Support.. Contact.. Español.. ---.. STAGE 3.. ANTIMUSEO PRODUCCTIONS.. FEMININE VISUAL.. / Space of Creation.. A PROYECT BY.. MARÍA MARÍA ACHA.. AND.. ELENA GARCÍA-OLIVEROS.. PARTICIPANTS:.. MARÍA MARÍA ACHA, URSULA BIEMANN, BEATRÍZ BONDUEL, ANSELMO GARCÍA, ELENA GARCÍA-OLIVEROS, CHARO GONZÁLEZ (BOLLUS VIVENDI, )IRIS NAVA, TOXIC LESBIAN, RAQUEL TRABA (MY COOKING FILMS).. 13 - 25.. 12.. 07.. An open, constantly evolving space for artistic exploration.. A team effort involving women artists and non-artists who carry out their activities in Spain and from a feminist perspective, addressing situations and problems unique to their condition.. These are women who have worked and continue to work in alternative settings.. Feminine-Visual hopes to lead to the development of new visual and creative languages, a language for women generated within the female world as it relates to the country where we live.. The proposed platform for this space is expositional in nature: four shows accompanied by round-table forums, projections and performances that will take place over the course of a year and will culminate in a presentation of all the projects at a single final event.. The spaces for these projects will vary according to the exhibition, and will include both artistic and non-artistic spaces.. The visual construction of gender identity or sexual orientation constitutes a huge void in the domain of women.. This profound silence becomes terrifying if we stop to consider what women artists have produced concerning this subject just within our own country.. By this we mean the absence of representations dealing with everyday situations typical to our condition and origin, or problems that many women face on a day-to-day basis, such as male chauvinism, sexual violence, domestic violence, breast cancer, or the fact that lesbians do not have penises but do have sex, or the significance that fertility treatments have in a woman’s life, or the not advantageous but rather discriminatory fact that lesbians are not considered to be homosexual, but two men can be, or that there is thorough documentation of the repression of male homosexuality, whereas female homosexuality seems never to have existed, or that the lesbian world has been highly psychologized, psychiatrized and  ...   justifies the lack of depth in any investigation into other issues?.. Could it be that this superficial treatment of women’s issues has deeper roots? With the involution of women’s status in Spain after the fall of the Second Republic and the victory of the Franquist dictatorship, however much or little that women achieved disappeared, and it wasn’t until the transition of 1978 that they became equal citizens with the same rights as men.. How does this historic reality affect women’s art? We need to look inward to discover our realities and limitations, to stop seeing other situations as if they were our own, and to begin creating some awareness of our own situation.. Feminine Visual.. is a work space that welcomes different approaches to the female universe that focus on specific issues.. Participating artists address the topic from the point of view of immigrants, gays, business owners… always reflecting the relationship with their surroundings and assuming their origins and identities, while using artistic resources to denounce, reveal, sensitize and share a space with collectives or individual women who use their own tools, which are different from those of art, to contribute to the creation of this project.. Feminine-Visual is envisioned as a project in a constant state of growth designed to make a new contribution to the construction of women’s identity in Spanish art, and thus we extend an invitation to other women to form part of this space of creation.. María María Acha.. and.. Elena García-Oliveros.. SLEEPING BEAUTIES and WORLD F.. Participative projects.. Artist web page.. URSULA BIEMANN.. PERFORMING THE BORDER y EUROPLEX.. Projections.. BEATRIZ BONDUEL.. COSMETICS.. Participative project.. MY COOKING FILMS (Raquel Traba).. COOKING FEMINIT PORN.. OPEN.. Lesbians-Represion-Sumision.. IRIS NAVA.. BODY OF WHORE.. Talk and projection.. TOXIC LESBIAN.. SEX OR NOT SEX.. ANSELMO GARCÍA.. SEXUAL LIBERTY IN MADRID.. Talk.. CHARO CONZÁLEZ.. BOLLUS VIVENDI.. Toxic Lesbian: When Lesbians Make Art and Its Derivatives.. 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.. in Berlin Park.. Femienine Visual..

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  • Title: ANTIMUSEO
    Descriptive info: STAGE 2.. DERMIS.. SEMEFO.. Madrid 1997.. Monotype series developed with corpses, using their own fluids as a pigment, on the dissection tables of Mexico City's Forensic Medical Service.. 7.. 857 m3 from.. Bocángel nº 59.. Acumulation of Double Wave Bars Susesions.. Dermis.. Acumulation of the Remains of EXPOARTE 97 Montage.. Nº 59 Bocángel Street.. Doméstica..

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  • Title: ANTIMUSEO
    Descriptive info: ACCUMULATION OF THE REMAINS.. OF EXPOARTE 97`S MONTAGE.. J.. AVIER PÉREZ ARANDA.. uadalajara (Mexico) 1997.. Classification and accumulation process of the remains of Guadalajara's International Art Fair montage, Expoarte 97.. The construction elements, wood pieces from the stands, packaging, etc.. , were fixed together creating a vertical composition of approximately 200 x 200 x 800 cm.. The work was developed under the public sight.. Guadalajara, México 1997.. With the collaboration of.. Ortiz Arquitectos..

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  • Title: ANTIMUSEO
    Descriptive info: Nº 59 BOCÁNGEL STREET.. ARTISTS:.. JAVIER PÉREZ ARANDA, SEMEFO and FRANCISCO LÓPEZ.. Madrid 1998.. Collective exhibition made in a building where the studios of several artists were located: Bocángel 59.. Three of the six studios were used.. SHELVING.. JAVIER PÉREZ ARANDA.. This work is part of an experimentation process about the everyday-life-space developed between 1994 and 1998.. The materials from the artist's vital activity accumulated in this space become both  ...   shelving.. CLOTHES FROM VICTIMS OF VIOLENT ACTS.. Clothes picked from Mexico City's Forensic Medical Service that came from unidentified victims of violent acts.. They are presented as ready-mades, over a table with similar light to the one used for their study at the forensic institute.. ACOUSMATIC ROOM #1.. FRANCISCO LÓPEZ.. A completely dark room, without known dimensions or content (neither human nor material), holding only a world of sound without concessions..

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  • Title: ANTIMUSEO
    Descriptive info: DOMÉSTICA.. ARTISTS:.. SEMEFO, MANUEL ROCHA, CRISTINA P.. LUCAS, ENRIQUE JEZIK, MANUEL LUDEÑA, VERENA GRIMM, JAVIER P.. ARANDA, PEDRO REYES Y FRANCISCO LÓPEZ.. Mexico City 1998.. Interventions made by nine artists, each in a different domestic space located at Condesa neighborhood in Mexico City.. This exhibition was sponsored by:.. Embajada de España en México.. ,.. Instituto de Cooperación Española.. Hewlett Packard.. ,.. Instituto de Cultura de la Ciudad de México.. Smurfit cartón y papel de México.. Estafeta.. Control Bureau.. y.. Web Statregies.. COUCH COVERED WITH VISCERA.. The group.. SEMEFO.. prepared viscera from different mammals with conservatives, having a furnisher place them as a covering on a couch.. UNTITLED.. ENRIQUE JEZIK.. Jezik.. builds a false ceiling at the exact height of the house's occupant, annulling the space through which he cannot circulate.. The elements above this height: doors, curtains, shelves, paintings, are partly hidden in the dead zone.. A COMPACT ATTEMPT TO HOLD THE CONFUSION OF MY LIFE.. PEDRO REYES.. Series of photographs that show the spontaneous development of a creation process that took place at the doorway of an apartment.. META-SONOROUS METAPHORS.. IN A META-DOMESTIC SPACE..  ...   a building, similar to the light huts at the constructions.. The door remains shut with a lock whose key is held by the artist.. CUADROS DE UNA VIVIENDA COMO ESTRUCTURAS DE ALMACENAJE.. Javier Pérez Aranda.. crea estructuras de almacenaje detrás de los cuadros que decoran la casa.. Los cuadros, reforzados en su parte posterior, se colgaron en ángulo con la pared, y en el espacio resultante se colocaron estantes.. El artista rellenó los estantes con objetos procedentes de la casa, seleccionados en función del espacio disponible.. 180º TURN.. CRISTINA P.. LUCAS.. Inversion of a table's position, preserving its functionality.. VERENA GRIMM.. Video projected over a curved mirror located at the house's staircase.. The video enclosed the particularities and manias of the house's owner.. ACOUSMATIC ROOM #3.. FRANCISCO LÓPEZ.. The series of acousmatic rooms (Madrid, Rotterdam and Mexico City) explores a form of hyper-acousmatism by means of hiding the sources of sound and any mechanist and explanatory aspects related to the sonorous matter.. This defines the completely dark and closed space of a chamber of variable form, substituting the usual fixed dimensions that are visually defined..

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  • Title: ANTIMUSEO
    Descriptive info: STAGE 1.. Nº 67 SÁNCHEZ PACHECO STREET.. ALMUT LINDE, MANUEL LUDEÑA and SANTIAGO SIERRA.. Madrid 1993.. Collective exhibition in which the three artists take the identity of the exhibition area, an abandoned factory, as a starting point to develop a project which establishes, in terms of historical materialism, the relation between industrial work, measured in man/hours, and artistic work.. With the support of:.. Portillo S.. A.. , DEA GmbH, TCH y Hilti S.. CALMUT LINDE.. CANVAS MARKED BY TWO HOURS OF WORK.. AT A PETROCHEMICAL BY-PRODUCTS INDUSTRY.. A large cloth on which the monotypes of the  ...   reinforced concrete were made.. Each measured 210 x 30 x 60 cm.. The columns were fixed to one of the exhibit room's walls at 140 cm from the ground.. The installation consisted of adapting a usual labor process to a project immersed in the artistic activity.. 1000 X 500 CM RECTANGLE CUT ON THE FLOOR.. SANTIAGO SIERRA.. Cut made by a civil engineering enterprise on the exhibit room floor.. Documents for a History.. of Heterodoxy in Art.. Nº 67 Sánchez Pacheco Street.. The Monster of the House.. Aisle.. Game Terrain.. Duchamp / Chess.. Attic.. Shotting Gallery..

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  • Title: ANTIMUSEO
    Descriptive info: GAME TERRAIN.. JOAQUÍN IVARS.. Madrid 1994.. presents a real size tennis court in which the lines that determine the field's sectors are discontinued.. On the judges' places were four auto-focus projectors without plates; therefore, the light beam opened and closed continuously, noting the precariousness of perception that this work strives to show.. Duchamp / Ajedrez.. Altillo.. Galería de Tiro..

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  • Title: ANTIMUSEO
    Descriptive info: DUCHAMP/CHESS.. PEDRO BELMONTE.. A presentation of Marcel Duchamp as a chess player by means of a book that gathers his whole trajectory as such, and the 16 chess boards illustrating the match between Duchamp and Koltanowsky at the Paris International Tournament in 1929.. built the.. Attic.. with remaining material from other installations at the.. Ojo Atómico.. Over this structure he accumulated the existing furniture and utensils from the service area of the exhibit room, leaving it completely clear for the inauguration..

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  • Title: ANTIMUSEO
    Descriptive info: ATTIC.. JAVIER PÉREZ ARANDA..

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  • Title: ANTIMUSEO
    Descriptive info: SHOTTING GALLERY.. RAFAEL SUÁREZ.. A note about the perception imprecision in which several targets for bow and arrow shooting are presented.. The concentric circles that indicate the shot precision have been cut in a spiral.. The usual streets of the shooting fields are painted on the floor..

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  • Title: ANTIMUSEO
    Descriptive info: ETAPA 3.. PROYECTOS DEL ANTIMUSEO.. LOVE PARTY 1.. Artistas:.. MARÍA MARÍA ACHA, DISCOTECA FLAMING STAR, LARDÍES / BANDÍN.. Curador:.. TOMÁS RUIZ-RIVAS.. 10.. 02.. 05.. Este año, como respuesta a.. ARCO.. y sus desdichas, el.. ha querido distanciarse de los humanos afanes y miserias, ha desistido de nuevas polémicas y de intentar enmendar lo irreparable, y ha organizado una auténtica fiesta del amor, donde todos, artistas emergentes o sumergentes, galeros, curadores y hasta funcionarios municipales y autonómicos, encuentren su sitio y el poco de afecto que a cada uno nos corresponde en la vida.. Love Party.. es una celebración de la vida y la libertad.. Es un evento anual que recupera la sexualidad como espacio de conflicto en la negociación del individuo con la sociedad.. Tres perfomances, una selección de web sites y cinco videos porno/románticos completan el programa de la primera edición de.. Con el apoyo del:.. Goethe Institut Madrid.. DISCOTECA FLAMING STAR..  ...   LA FIESTA PRIVADA DE ROY.. Artistas argentinos residentes en Madrid.. Hacen fotonovelas que tienen por tema el amor en sus expresiones más extremas y desoladas.. Las fotonovelas se presentan en secuencias de diapositivas animadas con un sistema intencionadamente básico, que consiste en tapar y destapar los objetivos de los proyectores con la mano.. Duración aprox.. 10 min.. MARÍA MARÍA ACHA.. LOVE CARDS.. Artista peruana residente en Madrid.. Su trabajo trata sobre la condición femenina y el mundo de relaciones y afectos de la mujer.. Su proyecto para.. es un tarot del amor.. (Love Cards.. ).. La baraja ha sido diseñada por ella, y durante la sesión de performances la artista leerá las cartas a aquellas personas que lo deseen.. Duración indeterminada.. Info artista.. Imágenes Contra.. la Guerra.. Madrid Cerrado.. Recetas de Esperanza.. El Fin de los Tiempos justos.. Como he de Amarte mi Pequeñín.. Fosa Común.. en el Parque de Berlín.. Femenino Visual..

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  • Archived pages: 406