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Albert Bayona

 

General Indisposition: an Essay About Fatigue Martí Peran

 

Where as industrial capitalism produced goods with exchange value, and post- Fordist capitalism veered towards the production of subjectivity, today the capital gains are concentrated in the self-production of identity. The logic of the subject of self-exploitation has been imposed, occupied full time in itself. The rhetoric of entrepreneurship and ideological advertising is unequivocal about this: “Do it Yourself. I Am What I Am.” This new productive slogan – Do it Yourself – causes widespread nervous hyperactivity. We find ourselves constantly obliged to make countless small decisions in all areas (work, emotional, social) which supposedly give us an identity and confer visibility on us, but which have already become the new workforce: they do not enclose anything and guarantee the profit generated by the constant action of dis-quiet. The subject has become mixed up with the incessant movement of its own alienation.

À midi
Bárbara Sánchez Barroso

Gilles Deleuze Abecedaire – K for Kant

 

Ethics of the Form José Ramón Otero Roko

 

Aesthetic emotion”, which is repeated like a mantra in the social organization of Art, has become a way of vetoing common values. This concept, which was originally described by the composer Arnold Schoenberg in his book “Writings on Musical Experience” (1978) and who, three decades ago, realized what it was all about by appreciating works beyond “what is contingent, tangible and relative”, is today the alibi for a cultural hierarchy based on interests and arbitrariness which arise precisely when the species of critic and commitment in the West seemed to begin to run out of fuel, becoming extracted from antagonism by integrating into the social and liberal field of ideology, or by becoming pure evasion thanks to the hard drug offered at the story’s end, withdrawing to the spaces already designated as being institutional: in other words, conveyor belts of the “decorative emotion” of the rich and powerful that justifies itself without requiring any integrity. Networks of interests that so often…

Breve atlas de lugares imposibles Bárbara Sánchez Barroso

 

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Breve atlas de lugares imposibles – Bárbara Sánchez Barroso, 2015

 

J(e m)’accuse
Rogelio López Cuenca

I accuse myself of knowingly being part of an ongoing dialogue with an enormous pre-existing cultural heritage; of believing that all current works of art derive from past ones and from a web consisting of these, woven together with works from the same period and also with those still to come.

 

I accuse myself of believing that the languages we inhabit, and that we are, make up a public heritage of images, words and all kinds of signs;

Grado: 0 Pilar Bonet

 
Animacion

What is “l’ignorant” lauching at?
Javier Marroquí

The work of many of the most prolific artists of recent years shares something in common: the desire of those artists to reproduce their own image time and again. Their motives to do so are, of course, very different: some of them have a lyrical intention to produce an art that is intimate and confessional1; others inevitably have to do it because their own body constitutes the object of an action…

DANI MONTLLEÓ AND THE MEANING OF ANTI-IDENTITY David G. Torres

 

In a photograph of The Who, Pete Townshend appears with an adolescent look posing in a safari-coloured shirt that harks back to the military (both the shoulder flaps and the colour) and is full of logos and medals. In another photograph taken sometime later, though now in black and white, Keith Moon, the drummer of The Who, poses among Lambretta scooters wearing a turtleneck jersey on which appear in writing the letters POW. POW are the initials used to designate and identify prisoners of war. The strategy of The Who was the underlying strategy that was used years later by London’s first punks with a mixture of logos, medals or signs that would range from the A within a circle representing anarchism to the swastika. Thus the aim was to dismantle all the signs by taking them out of context, used very skilfully by the highly situationist techniques of detournement and very Dada.

Parkour through of art today – Queer

QUEER (theory). Starting from the premise that sexuality is not a simple natural fact but a social construction, this field of studies, the heir of feminism, has developed into a field of research and activism on the culture of gays, lesbians, bisexuals, transsexuals and intersexuals.  The ‘queer’ theory as seen from various specialised fields -history, critique, literature, sociology, philosophy, art…

Cul-de-sac Sonia Fernández Pan

 

Cul-de-sac is a French expression which, although its literal meaning refers to a specific physical location thanks to the promiscuity of language, the meaning extends to those situations that are impossible –or almost impossible- to solve, and to those issues that produce a conflict that turns into an absurd circumstance in which someone ends up fighting just because they are fighting something that doesn’t give in so easily. Cul-de-sac, translated into Spanish as “callejón sin salida” or dead-end street, implies a deadlock, a tessitura into which one has entered but from which one cannot depart triumphantly. One normally finds oneself in a deadlock without exactly knowing how one got there, as part of a situation in which one entered voluntarily. In contrast, when proposing the idea of “cul-de-sac” for a series of gifs, this exercise functions in the opposite way: it is intentionally devised as a deadlock: a problem is posed without anyone seeking to find a solution.

Parkour through of art today – Expanded cinema

EXPANDED CINEMA. Journalist Gene Youngblood published  Expanded Cinema in 1970, heralding the extensive possibilities offered by experimental cinema thanks to the new technologies. According to the author, cinema could be made using three media: traditional celluloid, video and computer. This was not about creating new contents, but new contexts for viewing it.

“Las Muertes Chiquitas” (trailer) Mireia Sallarès

 

Artist Talk – Francesc Abad

 

Distance. Four gifs for Arts Coming Alexandra Laudo

 

The idea of presenting a series of artists’ animated gifs for the Arts Coming platform came up spontaneously in an informal conversation with one of the founding members. I was asked if I knew any artists who might be interested in doing some art pieces in this format to be later published on the project’s website, and this general question led to an exchange of ideas which culminated in the presentation of the concept of “distance”. This project aims to preserve the spontaneity of this first series of themes that features four animated gifs, organised in the context that brought it about, and is thus presented as a light curatorial event, which far from offering an academic theorization on the chosen theme, shoots them at the artists so that it works like a catalyst.

Valor #1 (video) Núria Güell

 

Mexican Paper Cutting: La Catrina and the Labyrinth
Mireia Sallarès

One of the first things which fascinated me about Mexico was its folk art, specifically ‘los papels picados’ or paper cutting. It is a type of popu- lar folk art made from tissue paper worked with hammer blows and normally used in popular festivals especially for the Day of the Dead, on November first. Mexicans place it on altars they have made for dead family members.

Parkour through of art today – Play

PLAY. Any activity that is performed for the enjoyment of the participants can be termed play. This principle differs from work and also from art, but we know that the presence of play is crucial in creative activities, from the everyday to artistic ones. Some artistic practices start as play and use this strategy to involve the onlooker in a more participatory, playful and critical endeavour.

Gathering Objects or Preserving Knowledge? David G. Torres

 

The market has a profound effect on collecting. In the art world everybody makes lists, and the names always coincide. These lists satisfy people because there are no disagreements, but we might ask what has happened meanwhile to criteria and debate. Promoting knowledge and debate is supposed to be the basic purpose of critique.
The great majority of art critics and curators define their professional profile precisely as art critics and exhibition curators. I do the same. This is a convention. But a convention marred by multiple contradictions. There seems to be a general consensus that when one works as curator to an institution one has to give up critiquing exhibitions. It is as though being a curator one has to conceal the real criteria according to which certain things are valued and others rejected. This hints at the constant suspicion that the critic/curator is acting out of interests that are not always related to criteria, valuation, discourse or research…

“In No Case Will This Special Rate Apply to Gold for Investment” Octavi Comeron

 

In debates on art and how it works, there is one recurring scene which many of us will have witnessed more than once, with minor variations. On one side of the table, one of the guests includes a harsh criticism in his arguments of the present link between art and the market, with the web of economic interests that surround it and that have nothing to do with artistic values. Following this, on the other side of the same table, another guest replies and defends exactly the opposite argument, often in almost perfect symmetry, based essentially on one simple question: ‘Why should artistic practice not be tied to the market and the economy like any other professional activity?’

In fact, both positions have their roots in historical lines of
thought which despite belonging to differet fields...
Artist Talk – Mireia Sallarès
Mireia Sallarès

 

Doppelgänger Goldfinger (Architect and villain) Dani Montlleó

 

Words with… Martí Peran (Part 1)

 

Parkour through of art today – APPROPRIATION

APPROPRIATION. Art and design, through the strategy of appropriation, extracts objects, images and texts from their cultural context and moves them to another with little modification. In this way they acquire a new meaning. Through repetition, copying or direct incorporation of an image, the author also questions the notions of originality and authenticity.

Deleuze’s ABC’s – A for Animal

 

Cómo expropiar a los bancos Beatriz G. Moreno

 

Cómo expropiar dinero a las entidades bancarias fue el título del encuentro pedagógico que tuvo lugar en La Universitat Lliure La Rimaia (Barcelona) el pasado mes de octubre. El encuentro, de título más que sugerente si nos atenemos a los tiempos que corren, incluía la intervención de los expropiadores de bancos Lucio Urtubia y Enric Duran con un economista representante de Qmunty.

No, no me he equivocado de medio, y aunque pueda llevar a confusión, esto es un artículo de arte. Esta sesión formativa formaba parte del último trabajo de Núria GüellAplicación Legal Desplazada #1, Reserva fraccionaria, definida por la artista como “un plan maestro que se propone aplicar al banco la misma ley que regula su actividad generadora de dinero (el uso de la reserva fraccionaria), además de visibilizar este funcionamiento, que conscientemente se mantiene oculto a la población”.

Los trabajos de Núria Güell acostumbran a hacer visible…


Artist talk – Antonio Gagliano

 

Artist talk – Domènec

 

La curadoría como posibilidad estética
Martí Peran

De acuerdo a la lógica circular del arte – aquella por la cual ninguno de los ingredientes del sistema puede definirse si no es mediante sus relaciones con el resto de componentes del mismo sistema – no hay ninguna posibilidad de abordar el asunto del comisariado como si se tratara de un lugar estanco. La única perspectiva posible para construir una argumentación sobre sus menesteres y…

Artist talk – Dani Montlleó

 

Parkour through of art today – Kitsch

KITSCH. The concept defines art and design as an inferior copy of an existing style. It invokes an aesthetic that is pretentious, outmoded or in bad taste. Banality, artifice, mediocrity, or extreme ostentation are associated terms. The result may seek to provoke or indeed to create a new aesthetic appeal.

Domènec. De lo moderno usado Martí Peran

 

A lo largo de poco más de una década el trabajo de Domènec se ha concentrado en gravitar, con órbitas distintas en cada ocasión, alrededor de las paradojas, los desatinos y los fracasos de la arquitectura moderna. Esta prospección crítica de la modernidad – como se demostró recientemente en la exposición Modernologías – se ha convertido en uno de los relatos más interesantes entre los que componen la partitura del arte contemporáneo. La justificación de esta deriva ha de ser necesariamente compleja, pues responde a numerosos elementos. En primer lugar, representa una oportunidad idónea para someter los presupuestos utópicos a una severo correctivo; por otra parte, la modernidad revisada allana el camino para desarrollar un arte crítico desde la memoria colectiva…

Parkour through of art today – Abject

ABJECT. Many artists throughout history have immersed themselves in dark places linked to the extreme, the grotesque and the monstrous. The abject as an aesthetic category inspired by the psychoanalytic notion of abjection was formulated by Julia Kristeva in her work “Pouvoirs de l’Horreur: essai sur l’abjection” (1980).

Artist talk – Núria Güell

 

Anticipating utopia. Xavier Arenós at the Gallery Valle Ortí Pilar Bonet

 

Way too much instruction manual. Nowadays the code of a user programme seems to be the perfect functional language to apply to any occasion. In the instruction book we have perfect literature and a happy tool that saves us from anxiety, ravings or even social exclusion. Even something as rootless as utopia can occur in the form of a self-help breviary that indicates the ways to use the revolution or organise its liturgy. Worrying, without a doubt. We have routinized utopia as an ideological pamphlet at the service of any common destination, without questioning its true capacity for transformation, as the inexcusable bearer of radical and positive change always pirouetting between the real and the desired. Utopia throughout our most recent past, in becoming legitimate has lost the pleasure of discovery and has become converted into an almost mechanical ideology that applies prescriptions that only function a priori. However, utopia is like the sirens’ song in Ulysses travels, more worrying due…

Artist Talk – Rafel G. Bianchi

 

Words with… Amanda Cuesta (Primera parte)

 

Words with… Amanda Cuesta (Part two)

 

Peter Funken talks about Kölner Liste

 

 

Arts Coming will take part this year at KÖLNER LISTE, a new contemporary art fair held in Cologne (Germany) from April 10 to 13. Peter Funken, the art fair curator, sent us this…

The most viewed articles:
Gathering Objects or Preserving Knowledge?
David G. Torres

The market has a profound effect on collecting. In the art world everybody makes lists, and the names always coincide. These lists satisfy people because there are no disagreements, but we might ask what has happened meanwhile to criteria and debate. Promoting knowledge and debate is supposed to be the basic purpose of critique. The great majority of art critics and curators define their professional profile precisely as art...

What is “l’ignorant” lauching at?
Javier Marroquí

The work of many of the most prolific artists of recent years shares something in common: the desire of those artists to reproduce their own image time and again. Their motives to do so are, of course, very different: some of them have a lyrical intention to produce an art that is intimate and confessional1; others inevitably have to do it because their own...

General Indisposition: an Essay About Fatigue
Martí Peran

Where as industrial capitalism produced goods with exchange value, and post- Fordist capitalism veered towards the production of subjectivity, today the capital gains are concentrated in the self-production of identity. The logic of the subject of self-exploitation has been imposed, occupied full time in itself. The rhetoric of entrepreneurship and ideological advertising is unequivocal about this: “Do it Yourself. I...