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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.. ---.. MICROMUSEUMS.. HANS PETER WÖRNDL / TULANE SCHOOL OF ARCHITECTURE.. 2003.. 10 Projects in Portable Architecture.. As part of our exploration of alternative channels of art distribution and critique of the museum as an institution, the.. Ojo Atómico.. collaborated with the Austrian architect.. Hans Peter Wörnd.. l in developing an infrastructure model for an art exhibit that would be portable and low-cost, in response to the establishment of several large museums.. The.. Micromuseums.. of this exhibition were the result of a workshop that.. Wörndl.. gave at the.. Tulane School of Architecture.. in New Orleans.. The objective was to create an apparatus that would allow us to develop art programs in rural  ...   be seen at.. www.. antimuseo.. org/teoria.. html.. (only spanish).. __________________________________________________________________________________.. Images: from left up to right down:.. POP UP by Ellen Campbell and Robert Maddox / MOON FLOWER MUSEUM by A J Finn / PUSHSH by Sungpil Won / SHADOW IN A BOX by James Stamp / UNFOLD IT by Koby Sackey / CLOUD BERROCAL by Jane Ehinger and Paul Lidste / COMETA-CINEMA by José Casiano / E-SCAPE by Harold Moninger / BULL BOARD by Emily Hyden / UM-BREL-LA by Christine Ross.. How do you imagine.. your plaza?.. Museum of the Defense.. of Madrid.. Sleeping Beauties.. Portable Center.. Hand by 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..

    Original link path: /english/praxis/praxis_micro.html
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  • Title: ANTIMUSEO
    Descriptive info: HOW DO YOU IMAGINE.. YOUR PLAZA?.. Artists:.. MARÍA MARÍA ACHA, THEDA ACHA, MANUELA MOSCOSO and FERNANDO RUBIO.. Narrators:.. SANTIAGO CIRUGEDA, DIEGO BARAJAS, A PIE - ASOCIACIÓN DE VIANDANTES.. Monitor:.. RAÚL ROJAS.. Curator:.. TOMÁS RUIZ-RIVAS.. 21.. 10.. 05 - 19.. 11.. 05.. Prosperidad is a small working-class district founded in the 1920s on what were still the outskirts of Madrid back then.. By the 1980s, it had become an island surrounded by high-rent districts (Príncipe de Vergara / Auditorio, Alfonso XIII, Parque de Berlín…).. Today it is a neighborhood slated for a profound transformation in the midterm, as it is devoured by encroaching real estate interests.. But as its disappearance is gradually consummated, it continues to be a neighborhood with unique qualities, like a small town in the middle of the city, which has been transformed by the arrival of mainly Latin immigrants.. But many of Prosperidad's 25,000 inhabitants have always lived there, playing an active role in its development.. The life of the neighborhood revolves mainly around the market and the plaza, which is also the location of the metro station and the parish church.. Apart from these, the district is totally lacking in other landmarks, such as monuments and historic buildings.. As the product of a citizens' movement during the 1970s, the plaza was an exceptional urban space in Madrid.. Its topography—particularly the shade trees and the low hedges that partition the space to create welcoming environments—fostered its use as a leisure area, and the evolution of the neighborhood created within it an exemplary multicultural community.. In 2005, the ACEP (Association of Merchants and Small Business Owners of Prosperidad) presented the Program for Commercial Development on López de Hoyos Street to the Madrid City Council.. This program proposes the elimination of the plaza's current layout ( all existing barriers—whether created by plants or other materials—will be eliminated ) to create a space where movement will be more important than sitting ( Prosperidad's new plaza will open onto the López de Hoyos Commercial District, without any zones that fall outside the characteristic flow of activity, thus agglutinating many of the area's promotional activities ).. Different neighborhood associations reacted negatively to this proposal, and Red Prosperidad started a petition against the transformation of the plaza, given that the proposed design would prevent lingering and instead emphasize its function as a commercial zone and a place to pass through, thus destroying a public space that is used for integrating social practices, and as a meeting place for Latin immigrants.. With funding from:.. Fundación Arte y Derecho.. Vegap.. Medialab.. In collaboration with:.. Asociación de Vecinos Valle Inclán de Prosperidad and Red Prosperidad.. How Do You Imagine Your Plaza?.. is the contribution that the.. Antimuseo.. made to this conflict.. Initially proposed as an open workshop, it was redesigned as a series of collective projects and explorations which make up the current exhibition, accompanied by a free publication.. The work was organized as follows: three architects and four artists were invited to develop their visions of the Prosperidad district and opinions regarding issues affecting the plaza.. NARRATORS.. DIEGO BARAJAS.. , gave a talk on the transformations that the urban space  ...   Prosperidad , which appeared on the magazine's front cover.. In Bogotá,.. FERNANDO RUBIO.. , photographed businesses founded years ago by Spaniards, with names alluding to the owners' places of origin, such as the Guernika pastry shop or the Navarra lunch counter, and their counterparts in Madrid, whose names refer to the places of origin of their immigrant owners, such as Rincón de Bello, named after a Colombian city, or Paraíso Ecuatoriano.. MANUELA MOSCOSO'S.. pencil sketches portray the shadows thrown by the trees and people in the plaza, as the only way to hold onto this democratic space for the meeting of cultures, which is currently in the process of disappearing.. RESEARCH / SURVEY / INTERVIEWS.. Furthermore, research and collective work was presented in the following pieces:.. A photographic reserch of the use of the square along one day, five photographs were taken every hour, forming a view of the square, from 7:00 pm to 22:00 h.. Photo: Theda Acha.. A survey consisting of a map of the plaza with all its elements missing except for the metro station.. Underneath the map, there is a series of icons so that the people surveyed can choose which elements should be in the plaza.. There are also some blank icons so that new ones can be added.. Some one hundred surveys were done, with an excellent response from the residents.. Video interviews: as in the previous case, this is a work in progress.. Different individuals are asked to respond on film to the question that lends this exhibition its name:.. EXHIBITION.. Finally, part of the neighborhood was outlined in tape on the floor of the Ojo Atómico's exhibition gallery, with the plaza—printed on paper in the same way as for the survey—at the center.. Scale prints of the surrounding buildings were also made.. Prints of the different icons are placed on a table so that the public at the exhibition can fill in the plaza with its different elements.. The free magazine containing the artists' works, texts by the architects and other general texts as well as the survey was widely distributed throughout the district, and has also had an excellent reception from local residents.. FINAL INTERVENTION.. On November 19, 2005, an artistic intervention was carried out in defense of the Plaza de Prosperidad as a meeting place.. To replace the street furniture that had been removed by the city council, dismountable furniture designed by the architect Marcos Corrales was set up.. The public in the plaza was invited to use the pieces, and pamphlets were handed out defending the plaza as a social space.. Furniture:.. PLATFORM PATENT No.. P200200.. Ediciones Despacio.. Mobcoop Ediciones.. Notes on the Notion of Place: temporary replacement of public? street furniture for leisure purposes, removed for unknown reasons.. The project How Do You Imagine Your Plaza? sheds light on the relationship between people and their city.. The connection that occurs in the public plaza between its material construction, social practices and the production of individual subjectivity.. In other words, the configuration and development of the public space, or urban space in general, should be understood as an element in the construction of democracy..

    Original link path: /english/praxis/praxis_howdoyou.html
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  • Title: ANTIMUSEO
    Descriptive info: MUSEUM OF THE DEFENSE.. OF MADRID.. TOM LAVIN.. Desde 2003.. Photo: Pepe Abascal.. The.. Museum of the Defense of Madrid.. is a collaborative and processual project that creates a mental rather than a physical space, in order to transform the representations of our city, our history and our identity.. The defense of Madrid during the Civil War was a phenomenon unlike any other in the history of the struggle against fascism in Europe.. For three years, the city’s population resisted constant bombardment by the Nazi air force and vicious assaults by Moroccan soldiers hired to subjugate them.. Moreover, these civilians abided by their motto, “They shall not pass,” even when it did not seem humanly possible..  ...   institution that produces knowledge and cultural legitimacy, the Museum becomes a radical art action: a modest caravan which the artist pulls through the streets in search of the desired epic.. Artistic contributions:.. María María Acha.. Javier Pérez Aranda.. Óscar Seco and Pepe Abascal.. Collaborators:.. Museo de la Guerra Civil – Mohedas de la Jara.. Archivo familiar de Jaime Menéndez el “Chato”.. Instituto del Patrimonio Histórico.. (.. Isabel Argerich.. José Buces.. ).. GEFREMA.. SBHAC.. Exhibitions:.. , Madrid, 2007.. Conde Duque Cultural Center.. (White Night), Madrid, 2007.. Public spaces.. , Madrid, 2007–2008.. Grants and awards:.. Madrid Procesos Fellowship – AVAM.. Grant for acts related to victims of the Civil War and Franquism, Government Cabinet Office.. + info (spanish)..

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  • Title: ANTIMUSEO
    Descriptive info: SLEEPING BEAUTIES.. Since 2007.. is a community arte proyect used as a political tool contribute to the fight against gender violence.. Since 2001, more than 500 women were killed by their couples or ex-couples in Spain.. The project aim is to involve the society through a permanent open call to create tributes to their memories, as well as to denounce their deaths.. Support:.. Área de Gobierno de Las Artes del Ayuntamiento de Madrid 2008.. ,.. International Congress on Women-WOMEN'S WORLD 08.. ,.. and the collaboration of.. all participants.. who have assumed the cost of their tributes..

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  • Title: ANTIMUSEO
    Descriptive info: EDER CASTILLO.. Mexico City 2011.. Guggensito.. by.. Eder Castillo.. is an inflatable structure that mimics the bold forms of the Guggenheim Museum in Bilbao.. The design is deliberately awkward, a cheap fake like the imitations of international brands that are sold at mexican street markets.. The  ...   offered it for free to people who want to take it to their neighboorhood, so children do what we can expect in the case of an inflatable, jump on it.. With the support of:.. FONCA.. INBA.. and.. Exteresa Arte Acta.. l.. With the collaboration of:.. Arteven..

    Original link path: /english/praxis/praxis_picguggensito.html
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  • Title: ANTIMUSEO
    Descriptive info: THE TATTOOED SKELETON.. SUZANNE LACY / MNCARS.. BERTA SICHEL.. Madrid 2010.. Tattooed Skeleton.. is a metaphorical and updated rereading of the narration of gender-based violence, an opportunity to critically examine how these stories are told and their effectiveness at this time.. The space between the experiences of women who have been battered and their social mask is the terrain covered by this journey.. Throughout more than a year, the American artist.. Suzanne Lacy.. has developed this multidisciplinary project, artistic and political at once, from a proposal by.. Reina Sofia Museum.. , in the International Day for the Elimination of Violence against Women in 2010 (November 25).. Lacy.. , collaborating with artists, activists, social organizations and government entities, took a.. position as observer and commentator on media and official discourses on gender violence in Spain, studying the mechanisms that classified the narratives and discursive strategies that represented  ...   collective.. Toxic Lesbian.. , transmitted in the Museum's Web streaming.. Video installation an Intervention during Awards ceremony of.. Delegación del Gobierno para la Violencia de Género.. Ministerio de Sanidad.. Política Social e Igualdad.. at.. Reina Sofía Museum.. Auditorium.. Participation on 25 November in the concentration of the.. International Day for the Elimination of Violence against Women.. in 2010 in the Puerta del Sol in Madrid.. Consejo de las Mujeres del Municipio de Madrid.. With the support of:.. American Embassy.. ARC-Durfee Foundation.. (U.. S),.. UNED.. Congreso Internacional: Mujer, Arte y tecnología en la Esfera Pública, Toxic Lesbian.. /.. Ministerio de Igualdad.. Federación de Mujeres Progresistas.. Federación de Mujeres Separadas y Divorciadas.. Comisión para la Investigación de Malos Tratos a Mujeres.. Themis.. MAV - Mujeres en las Artes Visuales.. Revista Mía.. and the artists:.. Andrea Domínguez.. Gloria G.. Durán.. Íris Nava.. Cristina Maya León.. Suzanne Lacy web page..

    Original link path: /english/praxis/praxis_pictattoedsk.html
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  • Title: BELLAS DURMIENTES
    Descriptive info: Acerca.. Cuento.. Homenajes.. Exhibiciones.. Colaboraciones.. Participantes.. Videos.. Medios.. Apoyos.. María AA.. Pepe Abascal.. Asunción Aragón.. Ricardo Avendaño.. Atousa Bakhtiari.. Marisa Bascuñana.. Analía Beltrán.. Laura Boj.. Beatriz Bonduel.. Esperanza Bringas.. Enrique Bueno.. A.. A.. V.. de la Providencia, Vocalía de la Mujer.. VALLE INCLÁN- Prosperidad.. Paloma Calle.. Virginia Calvo.. Campaña 86=86 campaign de LA BARCA, OTRO TEATRO (Patricia Davis, María, Centro de Yoga Lashala, Filiberto Chamorro de la Asociación de Cuentacuentos Recuentos , Escuela de Sevilla de Arte Dramático.. Alfonso Zurro, Grupo Scout San jorge y habitantes de la ciudad de Sevilla).. Elena Carreño.. Silvia Centenera.. Centro Hispano Boliviano - Acobe.. Centro Social Villa de Beniel (Agente de igualdad del Ayuntamiento: María Dolores Pérez Figueroa).. Comité Departamental de Violencia Doméstica.. de la Ciudad de Florida, Uruguay.. Colectivo ART GOLEIG (Ana Belén Mondéjar,.. Remei Vicente, M Dolores Pina, Gema Morante, Pilar Verdú, Gloria Vicente, Lucia Fuerte, Flora Cebrián, Carlos Sellés, Gaspar Esteve y Segismundo Morán).. Colectivo Femenino Proyecto ART-ESENCIA.. Gwen and Caitlin Curtis.. Luz Darriba.. (participación y gestión de Bellas Durmientes en CONGRESO LATINOAMERICANO.. SOBRE TRATA Y TRÁFICO DE PERSONAS).. Cyntia J.. de La Torre Villegas.. Laura de Miguel.. Adolfina de Stefani.. Susana de la Sierra.. María Araceli Díaz Figueras.. Inmaculada Díaz Narbona.. Dos Lunas Teatro.. (LA OTRA MIRADA, IV Encuentro Internacional de Mujeres en el Teatro).. Yoya Durán.. Participantes del XII Encuentro de Mujeres.. de Iberoámerica en  ...   González.. Charo González Parra.. Lucero González.. Rocío González.. Ángela Grande.. Montse Guardiola.. Claudia Gurrola.. IES Diamantino García Acosta (Rocío Villalobos).. IES Velázquez (Pilar Villalobos).. Jaime Iregui (Esfera Pública).. Ana María Jarana.. JohnDre Jennings.. Miguel Jiménez.. Fran Machado y Ane Kai.. Sara Magán Molina y Ana Arquero Cordero.. José Eugenio Mañas.. Rosa María Marín.. Ana Matey.. Ana Matías.. Concha Mayordomo.. Esther Melguizo.. David Montero.. Palmira Morán.. Sofía Misma.. Almudena Mora.. Coco Moya.. Valentina Muñoz.. Cecilia Noriega-Bozovich.. Eva Nupe.. Begoña Pérez.. Talía Peschiera.. Amalia Quirós y Carlos Mariscal.. Radio Club ASORAPA (Presidente: Ángel Pérez Corral, Secretario:.. Miguel Ángel Ruano.. ) y Asociación de Radioaficionados PÓRTICO DA GLORIA (Presidente: Fernando Rodríguez), con la colaboración de la Concejalía de la Mujer del Excmo.. Ayto.. de Villagarcía de Arosa.. Gabriela Roade.. Marta Romo.. Carmelo Rodríguez Cedillo y Rocío Pina Isla.. Tomás Ruiz-Rivas.. Javier Sánchez Caldera.. Rosa San Segundo Manuel.. Francisco Sanguino.. Alicia Santamaría.. Juan San Sebastián.. Miluca Sanz.. Teresa Serrano.. Linda de Sousa.. Sebastian Terraga (Kabaret Insolente).. Estudiantes de Tercero de Trabajo Social (Grupo tardes) y Laura, profesora de Trabajo Social de Grupo y Comunidad de la ESCUELA DE RELACIONES SUPERIORES, Jerez de la Frontera, Cádiz.. Antonia Valero.. Alfonso Vidal.. VAMOS MUJER.. WOREC, Nepal.. 4 GATOS.. (Alejandra Bocquel, Silvia Calvo, Laura Domínguez, Sonia Esmorris, Silvana Castro y Cecilia Magno, Norberto José Martínez, Lucas Mascaro, Viviana Ramos Di Tommaso, Ornela Tarzia, Fabian Zanardini)..

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  • Title: BELLAS DURMIENTES
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  • Title: TRAS LOS SIGNOS EN ROTACIÓN
    Descriptive info: TRAS LOS SIGNOS EN ROTACIÓN.. INTRODUCCIÓN.. 1ER ENCUENTRO.. 2DO ENCUENTRO.. 3ER ENCUENTRO.. ORGANIZACIÓN.. CONTACTO.. Si bien la modernidad pueda ser hoy nuestra antigüedad, como proponía el título de la última Documenta, el análisis unitario de los procesos políticos y culturales de los dos siglos pasados implica una perspectiva colonialista, y por lo tanto errónea, que descarta particularidades de determinados ámbitos históricos y geográficos, y excluye potenciales sujetos políticos.. Por eso el bicentenario de la independencia de las colonias españolas en América, que culminaría con el nacimiento de casi una veintena de repúblicas y el ocaso del imperio contrarreformista, es una buena ocasión para reflexionar sobre la construcción de la modernidad que acompañó a la constitución de los nuevos estados, y la especificidad cultural que ésta determina.. Dentro de la diversidad de lo que conocemos por Latinoamérica, y de la complejidad de sus relaciones con España, hay experiencias y relatos que atraviesan de diferentes maneras lo que en principio sólo podríamos definir como una comunidad lingüística, paradójicamente incompleta sin Portugal y Brasil, por no mencionar las muchas otras lenguas americanas y españolas.. Desde esta idea de una comunidad más que lingüística vamos a conversar sobre lo que ha quedado de aquellos Signos en Rotación, los que se resistían al desvanecimiento de la imagen del mundo y al futuro sin forma, un futuro -  ...   su lugar dentro de las actuales transformaciones políticas, sociales y económicas, desde la perspectiva crítica del fin de la modernidad.. Con el horizonte de la evolución actual del capitalismo, donde el signo mismo se ha convertido en mercancía, y del llamado proceso de globalización, vamos buscar las articulaciones entre los distintos conflictos que han detonado en los últimos años: la superación del estado nacional por las grandes corporaciones, el incremento de los flujos migratorios, la feminización del proletariado, el estallido de la ciudad.. y la manera en que las artes visuales pueden llegar a producir conocimiento, reorganizar el universo simbólico sobre el que se asientan las relaciones sociales, y contribuir, finalmente, a dotar de agencia a los grupos subalternos.. Nuestro objetivo es crear una dinámica de pensamiento colectivo que, de un encuentro a otro, permita delimitar los ejes de discusión y construir un corpus teórico coherente.. Un discurso crítico sobre la modernidad iberoamericana y su o sus crisis, desde una perspectiva poliédrica, que ofrezca nuevas pautas para la interpretación de los comportamientos y estrategias creativas, y los vincule a las mencionadas transformaciones políticas, sociales y económicas.. Un discurso que, en contra de la inercia homogeneizadora del mercado global, contribuya al reconocimiento de las diferencias y a reubicar la creación en el ámbito de lo público y, en consecuencia, también de lo político..

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  • Title: TRAS LOS SIGNOS EN ROTACIÓN
    Descriptive info: 1er Encuentro.. 19 y 20.. 02.. 2009.. CENTRO CULTURAL DE ESPAÑA.. EN MÉXICO.. MÉXICO D.. F.. ccemx.. El segundo encuentro de.. : ARTE FRENTE AL FEMINICIDIO.. incide en las representaciones del feminicidio y de otras formas de violencia sexual en el arte contemporáneo.. Así como la manera en la que podemos utilizar las herramientas artísticas como arma política para contribuir a la lucha contra la violencia de género, visibilizando los modelos que se están creando desde Latinoamericana y donde además, hemos considerado importante incluir a especialistas y activistas feministas provenientes de otras disciplinas que están trabajando para frenar la escalada de violencia contra las mujeres  ...   Jorge Villacorta.. (Perú).. Crítico y curador.. EL PLAN B,.. La carrera séptima.. como manifiesto moderno.. Jaime Iregui.. (Colombia).. Artista, crítico y curador.. PROYECTOS CURATORIALES EN ESPACIOS DÉBILES.. Rosina Cazali.. (Guatemala).. Crítica y curadora.. DÍA 2:.. MESA 2: POLÍTICA Y POSTPOLÍTICA.. EN EL ARTE MEXICANO.. APUNTES PARA UNA PARA UNA TEOLOGÍA-POLÍTICA DE LOS ESTÉTICO.. (México).. Investigador Nacional Nivel 1, profesor de la Universidad Iberoamericana y UNAM.. Karen Cordero.. Universidad Iberoamericana Departamento de arte.. POST-POLÍTICA EN EL ARTE MEXICANO?.. Pilar Villela.. Crítica de arte.. MESA 3: LAS PRÁCTICAS ARTÍSTICAS RADICALES.. Moderador:.. DISPERSIONES NOMÁDICAS.. Mariana Botey.. Artista visual, investigadora.. PRÁCTICAS ARTÍSTICAS RADICALES.. Fran Ilich.. Artista visual, escritor y curador..

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  • Title: TRAS LOS SIGNOS EN ROTACIÓN
    Descriptive info: 2do Encuentro:.. ARTE FRENTE AL FEMINICIDIO.. 26, 27, 20 y.. 29.. 04.. 2010.. EN GUATEMALA.. Guatemala, Guatemala.. cceguatemala.. PRESENTACIÓN:.. Artista visual feminista y.. co-directora del.. PROYECCIONES:.. PERFORMING THE BORDER.. Ursula Biemann.. (Suiza).. KILLER'S PARADISE.. Dirigido por.. Giselle Portenier.. (Canadá).. PONENCIA:.. Fundación SOBREVIVIENTES.. Norma Cruz.. Institución sin fines de lucro.. Integrada por mujeres sobrevivientes de violencia que brinda apoyo a mujeres víctimas de violencia machista.. Video.. ALAS DE MARIPOSA.. María Suárez Toro.. (Costa Rica).. Feminista y activista  ...   LA LUCHA POR ELIMINAR LAS VIOLENCIAS CONTRA LAS MUJERES.. María Eugenia Solís.. (Guatemala).. Abogada feminista.. Co-fundadora, columnista e integrante del Consejo Editorial de la publicación feminista: La Cuerda.. BELLAS DURMIENTES.. (Perú/España).. Proyecto colaborativo de sensibilización contra la violencia machista.. DÍA 4:.. ARTE Y VIOLENCIA.. Mónica Mayer.. Artista conceptual, feminista, investigadora y crítica de arte.. Co-dirige junto con Víctor Lerma el espacio conceptual PINTO MI RAYA.. Regina José Galindo.. Artista Visual.. Debate acerca de la ponencia de..

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  • Archived pages: 406