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

  • Title: ANTIMUSEO
    Descriptive info: THEORY.. LIBRARY.. SHOP.. About.. Archive.. Links.. Support.. Contact.. Español..

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  • Title: ANTIMUSEO
    Descriptive info: Tomas Ruiz-Rivas.. tomas@antimuseo.. María María Acha.. mariamaria@antimuseo.. www.. antimuseo.. org/mariamaria.. Library.. bibioteca@antimuseo.. To subscribe send us an e-mail to.. org..

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  • Title: ANTIMUSEO
    Descriptive info: +34 91 577 47 60.. ---.. HOW DO YOU IMAGINE A MUSEUM?.. A visual.. investigation.. about the imaginary of the museum of Contemporary Art.. A project by.. Antimuseo.. with.. MUA, Museum of the University of Alicante.. What is the museum of contemporary art today? What is it for? to whom represents? to whom interpellates?, the transformation of industrial capitalism to knowledge capitalism has brought to the forefront the contradictions of cultural institutions.. A new range of questions about art, the institution and the territory unfolds to us and requires innovative responses.. The museum is the quintessential modern institution, the place of the aesthetic subject that reconizes and transcendsin the arts.. But it can also be the battleground between a hegemonic discourse and its antagonistsof  ...   place in it and the production of our subjectivity.. Invited by the.. Museum of the University of Alicant.. e, on the occasion of.. International Museum Day.. , the.. made a series of interventions on campus to investigate the imaginary of the museum that have formed the students.. Using two complementary tools, a graphical survey and video interviews, we invited the university community to draw, plan and discuss their ideas and fantasies about the contemporary art museum.. PDF graphic survey (spanish).. ---.. Micromuseums.. How do you imagine.. your plaza?.. Museum of the Defense.. of Madrid.. Sleeping Beauties.. Portable Center.. Hand to Hand with General Cardenas.. The Antimuseo of Medellín.. How do you imagine a museum?.. Other producctions:.. Cultures of Contemporary Perú.. Collaborations:.. GuggenSITO.. The Tattooed Skeleton..

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  • Title: ANTIMUSEO
    Descriptive info: HAND TO HAND WITH GENERAL CÁRDENAS.. Artists.. MARÍA MARÍA ACHA, EDER CASTILLO, DISCOTECA FLAMING STAR, DOMÈNEC, RUDOLF HERZ, ENRIQUE JEŽIK, ROGELIO LÓPEZ CUENCA, JAVIER PÉREZ ARANDA and LORENA WOLFFER.. Curator:.. TOMÁS RUIZ-RIVAS.. Organized by:.. ANTIMUSEO / ACCIÓN CULTURAL ESPAÑOLA.. Mexico City, 09 - 27.. 02.. 2011.. Support:.. Institut für Ausladsbeziehungen.. ,.. Gobierno del Distrito Federal a través de la Delegación Cuauhtémoc.. (Dirección General de Desarrollo Social y Subdirección de Servicios Culturales) and.. Secretaría de Cultura.. Collaboration:.. Faro de Oriente.. Centro Cultural de España en México.. Ateneo Español de México.. Embajada de la República Federal de Alemania Ciudad de México.. Ex Teresa Arte Actual.. Grupo Habita.. and.. Universidad del Claustro de Sor Juana.. “The destruction of the past, or rather of the social mechanisms that link one’s contemporary experience to that of earlier generations, is one of the most characteristic and eerie phenomena of the late 20th century.. Most young men and women at the century’s end grow up in a sort of permanent present lacking any organic relation to the public past of the times they live in.. (The Age of Extremes: The Short Twentieth Century, 1914–1991).. Throughout February 2011 the.. had its principal venue in the the monument to Lázaro Cárdenas in Parque España in Mexico City, where its produced or exhibited nine projects that addressed the issue of the memory from very different artistic languages and philosophical premises.. After the Spanish Civil War, many Republicans fleeing Fascism were given refuge in Mexico by General Lázaro Cárdenas, who was then president of the Aztec country.. Cárdenas is also the president who stabilized the revolution, eluding the leadership of Plutarco Elías Calle, and he adopted measures of great historic importance, such as agrarian reform and nationalization of oil.. In 1973, a few years after his death, exiles erected this monument in Parque España, Mexico City.. It is a large hand, whose palm, designed as a small town square, can be reached by using stairs located in the wrist area.. The fingers are several-meter-high rectangular prisms and, somewhere under the pavement, there are 50 stones, one from each of the Spanish provinces.. The sculpture is the work of architects from three successive generations of the Azorín family, Francisco, Angel and Telmo, the first two being exiles.. Its aesthetic is related to the constructivist and abstract Latin American currents ranging from Torres-García to Jesús Rafael Soto and Helio Oiticica, an internationalist modern movement which, in its day, reaffirmed the modern western identity of the Criollo elites against indigenist trends.. The most immediate antecedent work to the General Cárdenas memorial is perhaps Mathias Goeritz and his pro-ject Route of Friendship.. (6).. This monument commemorates the meeting of Spanish Republicans with Mexican revolutionaries, and evokes the ideals of both.. But, at the same time, its prematurely outdated aesthetics symbolize the defeat of Twentieth Century utopian thinking and bring to the forefront the conflict regarding the memory which our time has inherited from those ideological wars.. Although General Franco’s death generated an abundance of studies, novels, movies and public acts in defense of the victims of the dictatorship, including exhumations of mass graves, the debate on Spanish historical memory adopted its current shape in the year 2000, when journalist Emilio Silva exhumed the Priaranza del Bierzo mass grave where his grandfather’s remains rested.. It is, therefore, a social movement, driven primarily by the grandchildren of the victims of Spanish Fascism, who, three decades after the dictator’s death, have felt the need to fill the vacuum of history and produce a story of their own.. As pointed out by philosopher Reyes Mate, the conflict appears in the same terms under which Walter Benjamin counterposed memory and remembrance.. Memory has the ability to read the unwritten part of the text of life; that is, it has to do, not with the past that was and continues to be, but with the past that simply was and is gone without a trace.. In this sense, one could say it has to do, not with facts (that is a matter of history), but with non-facts.. (7).. Remembrance is presented as a rational faculty that we use to make sense of our experience, and memory, in the realm of emotional energy, as the image that emerges involuntarily and brings into the present what has been ignored, rejected or hidden by that same remembrance.. We could say, based on the strong symbolism of mass graves, that what is the object of memory is what history has buried; that, in its efforts to make sense of things, it hides whatever does not fit into the construction of the hegemonic text.. The most vulnerable victims of all barbaric acts are lost in the night and fog, as the program of forced disappearances implemented in 1941 by Third Reich Marshal Wilhelm Keitel (8) was known.. Therefore, when we speak of historical memory, we are not referring to the known losers of history who occupy a fair or unfair place in those stories, but to those who are not even victims.. Those who died, but of whom no record exists, are not there and never were.. Like the workers massacred in the North American banana exploitation in One Hundred Years of Solitude:.. Those fickle tricks of memory were even more critical when the killing of the wor-kers was brought up.. Every time that Aureliano mentioned the matter, not only the proprietress but some people older that she would repudiate the myth of the workers hemmed in at the station and the train with two hundred cars loaded with dead people, and they would even insist that, after all, everything had been set forth in judicial documents and in primary-school textbooks: that the banana company had never existed.. (9).. Hand to Hand with General Cárdenas.. is primarily a project of historical memory, where the Antimuseo has chosen as its venue a monument to Spaniards in exile and invites a group of artists to give it new meaning.. This work is, as indicated in the previous chapter, within the framework of museum experiences that range from the 2003 essay on Micromuseums to portable centers built in Mexico and Medellin in 2009 and 2011 (10).. And it also assumes the closure of a cycle of work that began in that neighborhood in Mexico City thirteen years earlier with the exhibition, Domestic (11).. Finally, in.. , we wanted to go beyond the political and theoretical framework defined by what we have called Historical Memory in Spain or Command of the Past (Vergangenheitsbewältigung) in Germany in order to expand the vision to a broader process of fading memory, which encompasses the concepts mentioned earlier and allows us to establish a connection between this sphere of political confrontation and the conflicts arising today around the constitution of the subject.. As Hobsbawm describes in the quote we chose  ...   protagonists.. The documentary.. Exiliate.. s shows the memory of eight spanish women who have lived the exile in Mexico.. All of them are members of the Spanish Ateneo, and therefore took part in the efforts of the exiles to keep alive the memory of the Republic.. Ježik intervention can be described as brutal and subtle at the same time, a canvas of eleven meters long and two meters wide with a verse from the Greek poet Yorgos Seferis: WHO WILL TRUST IN OUR DECISION TO FORGET, which referred to the takeover of Smyrna by Turks in the 20’s.. This cartel is part of the.. Transplanted Slogans.. project, wich consist in show out of context political slogans used in different historical moments.. By this procedure the slogans lose their status of political message and acquire new reading possibilities, while expanding its connotations concerning to historical memory.. In relation to the rest of the proposals it offered a permanent reference to memory.. Two other proposals introduced the subject of the archive, as a central element in this process of dissolution of the social mechanisms of memory, in fact as the substitute for itself.. Rogelio López Cuenca published a poster entitled.. Hospitality.. , with quotes from the Mexican press of the 30’s, about the opening of Mexico to the exiles, combined with recent images of Central American immigrants killed on his way to the United States.. The posters were pasted on trees in the park and walls of adjoining buildings.. María María Acha-Kutscher also presented two Photo collages hunging from a lamppost in front of the monument.. they compose the.. Demolished.. series, and presented women sitting on the ruins of a building and surrounded by porcelain figurines and other objects.. These pieces are part of.. Womankind.. , a wide range of digital photographic collages series, using found archival images, from Internet, magazines, books and photographs taken by the artist.. In them she redefines the meaning of the images upon which the history of women where traditionally they have been relegated to the background in paternalistic, hegemonic stories.. Thus rescuing a female historical memory, reflecting both their political struggle and the complexity of their private world.. Eder Castillo, Lorena Wolffer and Javier Pérez Aranda worked with a completely different language and approach.. They worked with social groups to develop more open creative processes, and the two first generated working models that have been transplanted to the activism mechanics of their respective interlocutors.. Eder Castillo invited the Mexican Union of Electricians (18), to exploit the context of exposure to amplify their protests.. Although I can not describe here the conflict of electricity in Mexico, it should be noted that Cárdenas created in 1939 the Federal Electricity Commission, as a first step in regulating the production and distribution of electricity in Mexico, then in hands of foreign companies.. In 1960 the Commission nationalized all industry, creating.. Luz y Fuerza del Centro.. , and in 2009 the same commission disolved the company leaving 44,000 workers without work.. Since then, the MUE is mobilized against the fraudulent processes of.. Luz y Fuerza.. bankruptcy and the illegality of the process of dissolution.. Electricians held various cultural and political events over two days, and Castillo contributed to the event with a sculpture depicting a clenched fist, as opposed to the open hand of Cardenas, cover with used work gloves.. After this experience, the MUE decided to start organizing cultural events in parks and public spaces as a way to reach other citizens and also to touch in other way than with the demonstrations.. Lorena Wolffer presented two works that are part of the.. [exposed: Public Records].. about violence against women in Mexico City.. This is a long term research in collaboration with public institutions and refuge houses for battered women.. The first,.. Evidences.. , is a collection of objects that have been used to attack women, presented in a museum display: two vitrine tables with objects and their information.. The second,.. Discussing Violence.. , offers a meeting with women who have overcome the early stages of a long way to liberation, as well as with psychologists, to women who do not know how to deal with violence they suffer.. Its settled tents with tables and chairs in the palm of the hand, and throughout the day conversations were held.. There were a successful result also from the point of view of the organizations, and they have added this model to their working methods.. From the point of view of memory, we were interested to look towards women, that with the feminization of the proletariat and the erosion of the family institution, suffer an increasing violence in Latin America, possibly in the entire third world.. From this point of view the murdered women for no other reason than being women are unacknowledged victims of the economic and political process that it is known as globalization.. Javier Pérez Aranda, meanwhile, took a workshop format to work with El Salado flea market and Faro de Oriente.. He stayed at the residence of Faro, and formed a group that every wednesday collected final waste of the flea market to take them to Parque España and turn them into art objects.. It should be noted that the street market El Salado sells, among other, things collected from the trash.. There are several thousands of stalls and somehow represent the end of the cycle of the goods.. Objects are endowed with a specific memory, the creation and destruction of the value of change and perfectly embody the obsolescence indicated by Canclini in the quote before.. The objects and capabilities of people who are similarly disposed of the production cycle.. The interventions were conducted in three successive thursday, displaying objects gathered at the monument and its surroundings, so that both workshopers and passersby could participate in transforming them into works of art.. The other days the objects were stored within a scaffold covered with blue plastic and topped with a sign saying:.. Remains of Iztapalapa in the Spain Park.. Participate.. Finally, the work of the Spanish-German group Discoteca Flaming Star did a performance where they combined music, film, text and acts of the members of the group, to create a narrative in which they associated key dates in history with popular songs and other iconic elements such as successive versions of the.. King Kong.. movie.. (16) The Bicentennial of Independence in 2010 was the starting point for neo-conservative politics of memory on events like the conquest or the Cristero War.. (17) The original project of Vladimir Tatlin, a sculpture-building that would shelter the venue of the Third International and should surpass the Eiffel Tower in height, was never built.. In 1920 its presented the model, of which there are plenty of photo documentation.. (18) www.. sme.. mx/ y http://es.. wikipedia.. org/wiki/Sindicato_Mexicano_de_Electricistas (diciembre 2011)..

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  • Title: ANTIMUSEO
    Descriptive info: THE ANTIMUSEO OF MEDELLÍN.. Encuentro Internacional de Medellín - MDE11.. Medellín, Colombia.. September - october 2011.. mde11.. The.. proposal in.. MDE11.. consisted in the construction of a portable device and performing a program of activities in public space.. To get collaborators and generate contents we organized a workshop through an open call.. Curator:.. Eva Grinstein.. Curator assistant:.. Yuliana Quiceno.. Host Space:.. Casa Tres Patios.. MUSEO DE ANTIOQUIA.. Departament of Education:.. Director:.. Olga Escobar.. Coordination with.. :.. Javier Burgos.. 1.. Design and construcction of Portable Device.. We converted a food vending cart in a portable device to have adequate infrastructure for the actions taken.. The transformation was done by the artist.. Sergio Ruda.. and graphic design -inspired by the aesthetics of.. Chivas-.. , was done by.. 2.. Contents.. The participants of the worshop defined the focusof the interventions, identified the territories and partners.. The result was.. 7 actions.. in different parts of the city of Medellín and its surroundings.. Participants:.. Alejandra Jaramillo.. Silvia Triana.. Andrés Felipe Valencia.. Milena Gutierrez.. July Andrea Sarrazola.. Cristobal Isaza.. James Santiago Rodríguez.. Giovanni Acevedo (TRAKOMA collective).. VAMOS MUJER Corporation.. (Mónica Valencia and Sandra Vayoles).. Action 1.. TRAKOMA Collective.. THE PIG OF ILLUSIONS.. Territoy: Camboya and Springfield neighborhoods, Municipality of Copacabana.. 6.. 10.. 11.. The portable Center moved to two neighborhoods of Municipality of Copacabana: Camboya and Springfield.. The action was carried out by the.. Collective TRAKOMA.. natives of the area and was to bring Pigs money boxs to neighbors of the zones, mainly children, to draw on and leave a desire written within them.. TRAKOMA.. Collective.. are conformed by artists and teachers of Copacabana.. They work with graffiti and manage independent cultural center.. Their objective is to recover children and adolescents at risk of social exclusion through art.. Action 2.. Milena Gutiérrez.. “FREE LOVE”.. Teritories.. City Center: Casa Tres Patios – Parque Bolívar – Museo de Antioquia.. 7.. The action of.. was to tour the city center offering different love messages to passersby: heart-shaped candy and a few flyers with allusive texts.. On its way, she was leaving a trail of red dust, and at certain points she stopped to draw with the dust, hearts on the floor and pouring water over them to took on the appearance of blood, in allusion to the suffering caused  ...   of the notion of the neighborhood.. As the final part the.. Antimuseo.. was used to exhibited the mapping and grow new contents within the neighborhoods where they worked.. And then they made a final walk down through El Poblado Avenue to the principal park.. The idea of.. Alejandra.. Silvia.. is to continue with this project.. Action 5:.. VAMOS MUJER Corporation (Mónica Valencia and Sandra Vayoles).. and Cristobal Isaza.. “SOLIDARITY JOURNEY”.. Territory: CentralPark, Altavista Municipality.. 9.. The.. colaborated with.. in the meeting convened by the.. Security, Food Sovereignty and Autonomy.. The trip began at 9 am.. The Members were transported to the meeting in two chivas at Central Park of Altavista.. One of the five districts of Medellin and the third most populous.. This meeting was an opportunity to visibility an invisible and unknown territory for many peopl, was also an opportunity to recognize one rural city and the women who inhabit in it.. That day there was an entertainment show, like.. concert, recipes exchange, and sancocho for lunch.. hosted a small exhibition on food rights and was also part of the scenary of a theatrical performance.. Action 6:.. Andrés Felipe Valencia and James Santiago Rodríguez.. BICENTENNIAL PARK.. Territory: Bicentennial Park.. 10.. James Santiago Rodriguez.. Andres Felipe Valencia.. launched an investigation on the impact of the construction of.. Bicentennial Park.. and the.. Memory House.. among the local neighbors.. Rodriguez.. Valencia.. organized a workshop with older people, where it was proposed them draw an ideal park.. The draws were transported by.. to.. , where was planned paste them on the fences around the works.. The rain forced to postponement this final action, which it will take place later.. Photo:.. Manuel Mejía Velásquez.. Action 7:.. Cristóbal Isaza.. “IMPRODECIR”.. The musician and painter.. accompanied all actions, taking advantage of pause moments to invite passersby to participate in a musical improvisation on their everyday issues.. Some of these improvisations were recorded and included in the video.. Sandra Vayoles.. 3.. Documentation.. Some participants of the workshops devoted exclusively to document the actions on video.. With this material the.. edited a documental film of the whole process of the project.. Documentation team:.. Jan Marcel “Kotoja”.. Nataly Jaramillo Zuluaga.. Verónica Agudelo Gómez.. Mariana del Castillo.. Amelia Caro Martínez.. Hand by Hand with General Cardenas.. El Antimuseo de Medellín..

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  • Title: ANTIMUSEO
    Descriptive info: PORTABLE CONTEMPORARY.. ART CENTER.. Mexico City 2009.. Portable Center for Contemporary Art.. is a transportable, low-budget device for art display.. It is designed for short-term interventions in public spaces and can be moved and installed easily by one person.. The goal of this project is to investigate, through exhibition praxis, the relation between public and museum, and to bring new knowledge about the art system, its institutions and strategies of legitimation.. P.. C.. A.. contextualizes the artwork and activates new social situations around it.. With the support of.. Agencia Española de Cooperación Internacional y Desarrollo.. - AECID.. (spanish)..

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  • Title: ANTIMUSEO
    Descriptive info: CULTURES OF CONTEMPORARY PERÚ ,.. EXPRESSION AND REFLECTION.. MARIO ACHA KUTSCHER AND MARÍA RODRÍGUEZ BREÑA.. Produced by:.. ANTIMUSEO.. With the support of:.. With the Collaboration of:.. Universidad de Lima, ATA, Municipalidad de la Victoria, Ministerio de Cultura del Perú y diversas organizaciones populares.. Lima 2011.. C.. ultures of Contemporary Perú, Expression and Reflection.. is a group of seven video essays (in spanish) that evidence together relevant testimonies of intellectuals, activists and creators of Peru today..

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  • Title: ANTIMUSEO
    Descriptive info: Books.. Art Prints.. HAND TO HAND.. WITH GENERAL CÁRDENAS.. Catalogue.. LES SPECTACULAIRES.. MARÍA MARÍA ACHA-KUTSCHER.. MUSEUM OF THE DEFENSE.. OF MADRID.. TOM LAVIN.. IN SPAIN: WOMEN.. WORKING FOR WOMEN..

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  • Title: ANTIMUSEO
    Descriptive info: MUSEO DE LA DEFENSA DE MADRID.. Lengua: español.. 48 páginas.. Color.. 25 x 19 cms.. Con textos de:.. José Buces Aguado.. Fernando Hernández Sánchez.. Juan Manuel Menéndez.. Antonio Morcillo.. Tom Lavin.. Editores:.. Garaje Ediciones.. Madrid 2008.. Acerca del proyecto.. Pedidos:..

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  • Title: ANTIMUSEO
    Descriptive info: EN ESPAÑA:.. MUJERES TRABAJANDO POR MUJERES.. carpetacon 10 láminas de mujeres españolas:.. Concepción Arenal, Clara Campoamor, Carmen de Burgos,.. Catalina de Erauso, Matilde Landa, Carmen Karr, María Moliner,.. Margarita Nelken, Emilia Pardo Bazán, Victoria Kent.. Madrid 2010.. Langua: español.. Medida: 32x32 cms.. Impreso en Offset.. 500 copias numeradas y firmadas.. Precio: 75 euros (+ gastos de envío fuera de España).. Con el Apoyo del.. Ministerio de Cultura del Gobierno de España..

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  • Title: EL OJO ATÓMICO
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