Recent Changes

Tuesday, July 19

  1. page G thru N edited ... Late Night Off-Center - (Sautee Nacoochee, GA) : No web presence. :( Laudaanum - http://www.l…
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    Late Night Off-Center - (Sautee Nacoochee, GA) : No web presence. :(
    Laudaanum - http://www.laudanum.net : Seems to be some sort of art business...
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    Isou. (See:
    http://en.wikipedia.org/wiki/Lettrism
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    Lettrist movement.
    Lettrist International
    M:
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    Map3 - US & Italy; www.deannasirlin.com/map3/index.htm
    Material Exchange - Chicago, IL; www.material-exchange.org
    Media Action Group - Sydney Australia 1977-1980
    The Media Action Group was an artists group formed to produce slide shows analysing media treatment of various political issues of the time. The slide shows were sold to tertiary educational institutions. Members included three Australian artists previously involved in the New York Art & Language group - Ian Burn, Terry Smith, Nigel Lendon - and a number of Sydney artists with backgrounds in conceptual and political art such as Ian Milliss, Michiel Dolk, Mary Kinney, Kieran Finnane, Anne Sutherland, Mark Booth and others. It produced six slide shows and assisted in designing publications for the Trans National Co-Operative, a left wing research group, and the Amalgamated Metal Workers Union (NSW Branch). It had ceased activity by early 1980 after Milliss and later Burn began working in a new organisation, Union Media Services Pty Ltd.

    Mediamatic (Amsterdam, Netherlands) -- http://www.mediamatic.net/

    Medical Hermeneutics - Moscow, Russia; www.kanka.de/aurora/pp_b1.htm
    (view changes)

Monday, October 27

  1. page home edited ... About the collectiva project in the January 2008 seminar at USF-Tampa Integrated list of cont…
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    About the collectiva project in the January 2008 seminar at USF-Tampa
    Integrated list of contemporary world artists' collectives.
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    Temporary Services คาสิโน gave their
    You can add your own space to their useful website... Get a "library card" today!
    "Nobody Remembers Everything" timeline by Vince Leo is also on Greg Sholette's site Dark Matter -- it spans the last century, through 1992. "Dark Matter" contains many other useful links and {http://cdncache1-a.akamaihd.net/items/it/img/arrow-10x10.png} , and is continually being updated (10/13).
    "House Magic" ABC No Rio exhibition on the social center movement in European cities -- 5 zines since Spring '09.
    While this is not about artists' collectivity, it is an extension of Alan W. Moore's research.
    ...
    upon, artists' collectives Ruby888.collectives.
    (view changes)
  2. page Art Gangs the book edited ... by Alan W. Moore from Autonomedia, New York, 2011 ... AK Press and Jeux de Casino en Lign…
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    by Alan W. Moore
    from Autonomedia, New York, 2011
    ...
    AK Press and Jeux de Casino en Ligne.
    Art Gangs is a survey of several recent well known artists’ organizations in New York City which rose to prominence between 1969 and 1985, a period of political challenge and institutional change within the art world. In 1969 New York City artists formed the Art Workers Coalition to pressure the Museum of Modern Art for artists' rights and to take a stand against the Vietnam War. Over the next fifteen years, successor organizations continued political action on issues from cultural equity to U.S. foreign policy, and refined the modes of cultural activism. These groups developed new art exhibition spaces, new styles of exhibition, and collective ways of working. Today's diverse and politically conscious contemporary art world is deeply indebted to their example.
    An outline, a long synopsis of the {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} is posted here.
    Occasional posts relevant to the content of "Art Gangs" is posted at:
    http://artgangs.blogspot.com.es/

    Alan W. Moore is in Spain this summer. He will visit New York in September of 2011.
    You can contact him at awm13579 [at] gmail.com.
    (view changes)
  3. page Art Gangs the book edited ... from Autonomedia, New York, 2011 and from AK Press and Jeux de Casino en Ligne ... develop…
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    from Autonomedia, New York, 2011
    and from AK Press and Jeux de Casino en Ligne
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    developed new Royal1688 art exhibition
    An outline, a long synopsis of the {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} is posted here.
    Alan W. Moore is in Spain this summer. He will visit New York in September of 2011.
    You can contact him at awm13579 [at] gmail.com.
    ...
    living in Madrid คาสิโน.Madrid.
    {p51.jpg} image by Ursula Meyer, ca. 1969
    (view changes)

Saturday, September 13

  1. page reading list in collective practice edited ... y mucho mas.... TK ... Time Summit Royal1688 2013: The new book draft is here.
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    y mucho mas....
    TK
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    Time Summit Royal1688 2013:
    The new book draft is here.
    (view changes)
  2. page reflects on some more readings edited 21 sept 13 Essex reading ... Grant Kester's book "The {http://cdncache-a.akamaihd.net/it…
    21 sept 13 Essex reading
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    Grant Kester's book "The {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} "The One and
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    “Collective Actions” book {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png}
    3 - Gabriele Detterer, “Spirit and Culture of Artist-Run Spaces” (interrupted)
    4 – more on Kester; bad dreams
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    1 - Excursus – a bite out of Grant Kester's book "The One and the Many"
    I am reading also in Grant Kester's book "The One and the Many." Stevphen liked the writing on Francis Alys' action "Moving a Mountain," so I thought this was important to read. Kester is an aesthetician, intent on the long-familiar project of deconstructing, nay, demolishing edifices of isolationist formalism. That is the edifice of critical theory and (mostly, I think) practice that sidelines ethics and politics from consideration as “serious art.” The newest formalist doxa he detects -- (although he does not so call it, except by inference, that is, comparing it to his deconstruction of classic Greenbergian formalism in his earlier book "Convesation Pieces") -- is a kind of learned, insistent, systematic helplessness inherent in many variants of post-structuralist theory. He tracks this back to Schiller, his "Sentimental Education," written for an aristocratic patron, and thoroughly elitist in its suppositions. Because the revolution of May '68 did not succeed, Kester maintains, the French thinkers of that generation are vested in the idea that no revolution can succeed before all Western thought is taken apart, all settled identities disrupted, and so on (Kester's taxonomy is thorough). More than the conventional indictment of "post-structuralist relativism," Kester accuses the doxa of contemporary criticism of responsibility for the isolationist trope of artistic autonomy itself. Alys' work, then, is invested with a kind of intention to prove, through poetic metaphor, not only the Sisyphean nature of collective work itself, but the hopelessness of Latin American relations to modern development.
    ...
    liked for Ruby888 pointing out
    Finally, unfolding all the passages of the concept of collectivity – as process, as metaphor, as constitutive of artistic identity, as working procedure – is not so very interesting to me. I am more specifically interested in it as a practical matter, from the point of view of strategy, as Kester at one instant has it. How collectivity works, how it doesn't work, why it has to be employed, why we need it and why we don't – this matters more to me than the vast metaphorical, ethical and political desert that unfolds from Kester's work, however slowly and meticulously he traverses Royal1688 it.
    He likes art, creative work, that engages actual issues of actual peoples, not stuff that makes poetry in the desert with a lot of “hired hands,” even if they be volunteers. I got it.
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    2 - “Metamute” review of new “Collective Actions” book
    Note: We heard in our interview with the WH&forW group that the Russian group Collective Actions was a principal inspiration for their work when it began.
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    of a book on {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} on the Russian
    ...
    stuff.]
    http://www.metamute.org/editorial/articles/after-participation#
    It's also about work in the Soviet era -- “This report gives a sense of how work during the Stagnation period was experienced (by Monastyrski): lengthy, tedious, mysterious and seemingly pointless.... Because unemployment was illegal, work placements were overstaffed. People had to go to work even when there was nothing to do. Alexeev's image of Soviet work is also one of Empty Action, involving lots of people pointlessly hanging around, senselessly shifting around materials.”
    Okay. Let us leave the empyrean realms of critical theory, and return to writing about groups of cases, and “sectors of the creative economy.”
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    Notes On Method – Against Theoretical Generalizations Using Historical Movements
    Epidemic in many online texts... If you are thinking about something where you are depending on references to “classic avant-gardes” – it always helps to avoid banal generalizations if you can get as close as you can to the actual artifacts and events and the ephemeric surround of documents and remains without of course consuming too much time or vanishing in the minutiae. (The minutiae, however, reveal always how complex any particular aesthetic movement or artworld moment is in reality; a taste of that is always good, so, if you are serious, be sure to hit at least one archive, a box, not a vitrine display if you can.)
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    presence in Paris in {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} in the modernist
    I am a big fan of piles of books with lots of pictures. It is one thing to read in some general history or theoretical take-out that Dada arose more or less simultaneously or sequentially in New York, Paris, Zurich, and Berlin, and another to browse some of the catalogues of shows dedicated to those movements in those cities. (Of course, the piles need to be chronologically arranged; western scholarship and museum exhibitions on avant-gardes in the socialist countries were often radically skewed to the right during the cold war period, i.e., before 1990. You have to be attuned to what isn't being shown or said. And, always, it is the thing itself and the institutional holdings of the things that condition exhibition catalogues – that is, collecting prioritiies and market realities. “Interest” too often = money value.
    Of course, thoroughly understanding any historical art movement is a lifetime project. (I spent only a few of graduate school years looking into Dada.) So the tendency is to go to those who have devoted themselves to it for an informed opinion. Even so, even this, kind of “tourist”-ing through a big pile of books, is going to help writers to avoid piling up dry, airless uninformed generalizations which totter one atop the other uselessly, and are far removed from any substantive understanding of their subjects.
    ...
    /
    6 – back to G. Detterer (abandoned)
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    Nannucci.Zurich: JRP/Ringier.
    This is a long and very systematic text which has many virtues. But let me go through and point out problems. In general (executive summary) – My chief disagreements with this lie in what I take to be its naivete and idealization of artist-organized spaces which I think leads to a blind faith and a flawed systematization. In my view, every one of these spaces is very specific in terms of their local conditions, that is, the specific artworld in which they come up. They are also specific in the ways in which they negotiate global art business and institutional culture, which plays a determining role in artistic reputation and economy.
    Now I go over the text page by page:
    ...
    (P. 21) – Heavy dose of creative economy buzzwords, “high-risk,” “rational economic strategies,” “creation of added value,” “social and cultural capital that resulted” – it is written in Switzerland, after all. Also, “self-help culture” being “traditionally firmly anchored in the USA and Canada” needs a lot of examination. There was no state support for culture in these regions (Canada?) for centuries, so artists built their own institutions. They built them on European models, however.
    STOPPED
    ...
    many years...
    Ulises Carrion, The New Art of Making Books.pdf
    at: http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Ulises%20Carrion,%20The%20New%20Art%20of%20Making%20Books.pdf
    no more reading notes until later
    /
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  3. page review of Expect Anything, Fear Nothing edited ... {scan5_web.jpg} What Is A Resume Image: Gordon Fazakerley in the yard of Drakabygget, Nash's …
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    {scan5_web.jpg} What Is A Resume
    Image: Gordon Fazakerley in the yard of Drakabygget, Nash's farm and artist commune in Southern Sweden, 1961
    This book is {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} is a badly
    ...
    to the คาสิโน Situationists. They
    But the story didn't end with MIT Press. Recently, Ben Morea of the infamous Black Mask and Motherfuckers group – excluded from the Situationist International in 1966 – emerged from the underground after decades of silence. A hardcore anarchist activist in his time, Ben just finished a tour of Europe, riding out of the west like a cowboy wearing literally, a ten gallon hat atop his wiry frame. It wasn't until 2005 that I found the tracks of the SPUR Group in Munich at the 500th anniversary exhibition of the Munich Art Academy. The wild illegalized publications of Gruppe SPUR were safely enclosed in a glass vitrine -- but there was a videotape of their students reacting to 1968 with all-night discussions, public interventions, and riding motorcycles through the halls.
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    harbor. Their book was {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} was really beautiful
    For the editors of this book, the emergence of the SI from obscurity in the later 1980s finally reduced the group to “just one signature.” In academia, Guy Debord emerged as the “great melancholic political writer.” His only competition on the historical stage is Asger Jorn. Debord is beloved of academics and politicos, while Jorn is the favorite of art historians and collectors. Although he was a prolific writer and theorist, Jorn was an “anti-specialist,” thus in the eyes of academics, not a “true theorist.” (A collection of Jorn's writings in English before 1958 has only just appeared from 010 in Rotterdam, some online at bopsecrets.org.)
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    a bonafide Paris-approved {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} -approved SI member,
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    by the Paris central {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} central committee directed
    The “Situation”: A Charged Moment in Copenhagen
    The conference Expect and Fear records was held in Copenhagen shortly after the police stormed the Youth House, the famous Ungdomshuset in March 2007. For the organizers, it was an attempt to “wrench” a necessary history back from the academics, to make it resound somehow in the realm of real political/cultural action. It is hard to say how the display and reconsideration of a radical past, and the presence of its actors on a public stage during a charged moment redounds into the public sphere of political action. One's vision is always a little blurred by tear gas...
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    Braided Tales
    Karen Kurczynski's text discusses the six issues of “The Situationist Times,” the publication edited by Jacqueline de Jong. It was designed as an international review, in a sense continuing the Surrealist publications. Conceived before but executed after the Paris exclusions, the review was open-ended and often contradictory. In this, “The Situ Times” reflected a “Nordic” outlook on Situationism as a broad front avant-garde movement without a Leninist central committee with inquisitorial and censorial powers.
    ...
    context,” which deals with {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} with the transformation
    Kurczynski also contrasts the ST's “heteroglossic” investigations of topology with the Informel painter Georges Mathieu's metaphorical use of mathematics. and the rationalizing usages of the method by modernist visual theorists, like the sculptor Max Bill. (Bill's reorganization of the Bauhaus in the mid-1950s inspired Jorn to start his International Movement for an Imaginist Bauhaus in opposition.) Through considering artists' uses of that classical topological object the Möbius strip, Kurczynski arrives at Lygia Clark, the Brazilian signator to the Neo-Concrete manifesto, the classic statement of Brazilian artists' reaction to their Bauhaus teachers. Clark moved from geometric relief paintings to “manipulable objects that facilitated bodily interaction,” like sense-distorting goggles and body suits. Kurczynski compares Clark's choice to continue her work in the context of group therapy instead of art to the Situationist aim of surpassing art for life.
    Kurczynski also uses George Kubler's notion of collective formal development popularized in the '60s through his book “Shape of Time,” which leads to Robert Smithson, who also collaged Kubler. At a certain point, many readers may throw up their hands. While the essay is certainly rich, it synthesizes far too many disparate currents of '50s, '60s and '70s art in dizzying turns that at times takes on the drone of inexhaustible erudition. Of course this is only normative art historical procedure, and to admit this history into the canon of postmodernism is going to disturb a lot of narratives. But, like Tompsett, one has the sense that a species of wantonly dense bush-wandering analysis may be the peril of being a student of Asger Jorn, that underacknowledged master whose writings collaged ideas in a manner that seems to defy exegesis.
    ...
    Jørgen Nash organized his activity at the Drakabygget farm, a derelict rural property in Sweden which he and his wife bought, and to which they invited artists to live and work. This was to be the “Situationist Bauhaus,” a utopian anti-recapitulation of the Ur-modernist art education institution. Drakabygget didn't turn out that way. It was, according to Gordon Fazakerley, “a madhouse,” an asylum run by the lunatics.
    Editor Jakob Jakobsen strives to untangle this story, starting with interviews with Fazakerley and de Jong. Drakabygget got its impetus from an all-too-familiar problem faced by artists at the time. Copenhagen was too expensive for artists to live in, so they were moving to rural Sweden. Nash's farm became a center by default. The farm project never became self-sustaining as planned, and was supported primarily by brother Asger's money. After a while, Jorn fell out with his brother and stopped coming, so the higher aims of the place which Jorn had well articulated never materialized.
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    lived by dealing in {http://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png} in other artists'
    Digging in the Historical Compost
    Jakob Jakobsen's consideration of Nash and his group begins by noting the extensive folders of legal papers in the (as yet publically inaccessible) Nash-Jorn archive in Copenhagen. Jorn wrote, “artists are an army of liars and swindlers in society” because he believed that artists must breach all norms and accepted truths in their experiments to create the new.
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  4. page Primer Día edited ... Programa detallado: __http://creativetime.org/summit/schedule__ Viernes, 25 de octubre ... …
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    Programa detallado: __http://creativetime.org/summit/schedule__
    Viernes, 25 de octubre
    ...
    [10:00 am] INTRODUCTIONINTRODUCTION & OPENING
    Anne Pasternak, directora de Creative Time.
    Bienvenidos al 5º Creative Time Summit.
    ...
    Es un honor presentar a Nato Thompson, curador jefe de este Creative Time Summit.
    Nato Thompson, comisario de Creative Summit.
    ...
    XXI. Un Gclub amigo que
    La gentrificación tiene raíz en varios lugares importantes: raza, movimiento del campo a la ciudad, clase, y como la idea de gente basada en un lugar. Estas preocupaciones son importantes y muy complejas.
    El año pasado nos preguntamos cómo crear más espacio para que los artistas trabajen en esta ciudad cada vez más compleja.
    ...
    Para mí placemaking implica que las ciudades entiendan que la cultura tiene un lugar y ahí se pueden inyectar ideas de justicia social, incluso de activismo radical.
    Hay gente que viene de muchos lugares y creo que ese contacto, conexión, hará posible que los policy-makers (alcaldes, artistas, organizaciones de justicia social, varias lenguas…) creen intersecciones que son un reflejo para la organización de la ciudad del futuro.
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    [10:15 am] PERFORMANCE.PERFORMANCE. Mario Ybarra
    Soy un artista de Los Angeles, de un lugar llamado Wilmington.
    Después de estudiar arte en NY volví a Wilmington, Delaware, y abrí un estudio con mi mujer. Más adelante conocí un lugar llamado The Language Studio. (“Slanguage Studio”?)
    ...
    6: “Documentación”. ¿Quién va a sacar fotografías, a subirlo todo a Facebook o YouTube? Todo eso necesita estar ahí fuera. La documentación te da ventaja a la hora de hacer tu próximo pastel, porque en cuanto otras personas vean lo que has hecho te pedirán que hagas pastelitos para sus nietos o abuelas. ¡Repitamos estos pasos!
    Estos puntos te dan una posición de “insider” en una conversación.
    16:30[10:30am] KEYNOTEKEYNOTE PRESENTATION. Neil
    Yo no soy artista, soy catedrático en Harvard, y estoy muy contento de estar aquí.
    La pregunta que quiero hacer es: ¿puede el lugar ser un punto básico de producción? Quiero empezar situando mi análisis en relación a la crisis financiera global. Vivimos en un tiempo de crisis global económica.
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    R.B.: Necesitamos entender la complejidad de la raza.
    DESCANSO Holiday Palace
    ...
    [12:05 pm] ININ CONVERSATION. Rick
    Quiero hablar de raza, dijiste en el backstage.
    Rick Lowe: Estoy preocupado por varios niveles del tema de la raza. El país ha estado también ocupado por la raza. Para mí fue un momento clave cuando un miembro del jurado dijo que el asesinato de Trevor Martin no había tenido nada que ver con la raza, pero es que todos los miembros del jurado eran blancos a excepción de uno.
    ...
    Sobre las relaciones de raza y clase. Cita de Lyndon Johnson: “Si puedes convencer al blanco más pobre de que es mejor que el negro más rico, no se va a dar cuenta de que le estás robando. Diablos, dale alguien a quien despreciar, y seguro que incluso se vacía los bolsillos para ti”.
    R.L.: El siglo XXI va a darle la vuelta a la pregunta. Partiendo de esta frase de Lyndon Johnson, la cuestión de raza no es una cuestión para negros, sino para blancos.
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    [12:30 pm] CORTOMETRAJE:CORTOMETRAJE: Occupy Gezi
    http://www.youtube.com/watch?v=z7KjWvbsxjE
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    [12:35 pm] REGIONALREGIONAL REPORT: TURQUIA.
    Quiero hablar sobre la Bienal de Estambul, cuyo título es “Mamá, soy un bárbaro”. Ha sido concebida y escrita en julio del año pasado, pero aborda cuestiones de la resistencia de Gezi.
    Nos planteamos la cuestión de si públicos múltiples pueden actuar colectivamente y vivir juntos. En esta muestra, en esa plaza, se vio que sí es posible.
    ...
    Una de las propuestas fuertes de la exposición fue la obra “Wonderland”, de un artista de Georgia. Es una película sobre jóvenes hip-hoperos que crecieron en un barrio de gitanos. En ese barrio hace 600 años que viven los gitanos. En este barrio empezó una así llamada “regeneración” en 2006, y muchas de las personas que viven allí iniciaron un proceso judicial, porque es una zona antigua con una vida muy especial. Desde el inicio de esa regeneración todo eso está cambiando. El año pasado se decidió en los tribunales que no se podía demoler ningún edificio de esa zona, porque desde hace siglos se ha generado allí una cultura muy importante. A pesar de esa sentencia, el proyecto sigue. Se establecieron medidas de transporte para trasladar a los gitanos fuera de la ciudad. Las empresas usan el aura del barrio y la cultura rica que existía, para aumentar el precio de las casas.
    DESCANSO
    20:30 [2:30pm] WHAT’SWHAT’S NEW AT
    Soy la directora de iniciativas globales en Creative Time. Desde el principio el intercambio y la participación han estado en el corazón de nuestro pensamiento: pensar y entrecruzar las ideas en lugar de simplemente presentarlas.
    Quiero hacer un experimento que incluye a todos los presentes y a los que nos están viendo por streaming. Hemos escuchado vuestras contribuciones y hemos dado al Summit un precio más flexible que el pasado año. Comentasteis que os gustaría que hubiese más variedad de formatos y aquí lo tenéis. Hablasteis para que hubiera más espacio social y construimos un parque.
    ...
    En el 2014 el Creative Time Summit será en Estocolmo.
    Creative Time es una organización llevada por artistas. Muchas organizaciones lo dicen, pero es verdad, y queremos escucharos. Así que cuando recibáis un correo pidiendo ideas, preguntando cómo ha sido, por favor, responded, decidnos ideas que tengáis, gente que conozcáis, qué queréis… Es la única manera que tenemos de estar en contacto con lo que pasa, no sólo con la gente que conocemos sino en un mundo en red.
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    [2:40 pm] SecciónSección 2: MY
    Kelly Anderson. Gentrification en Brooklyn.
    Michael Premo. Activismo y arte.
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    K.A.: Me gustaría vivir en un sitio en el que se pueden hacer cosas buenas, como poner un parque, y que la gente no grite “¡Oh Dios mío! ¡Gentrificación!”
    Steve Powers: Más pizza.
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    [3:45 pm] SHORTSHORT FILM. Beyza
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    [3:50 pm] REGIONALREGIONAL REPORT: SOUTH
    El trabajo en espacios públicos y las comunidades que intentamos crear.
    Hace veinte años que tenemos democracia en Sudáfrica. La arquitectura psicológica y física del apartheid pervive. Tenemos un gobierno que intenta cumplir las promesas del año 94 pero no está siendo fácil.
    ...
    La cosa más visionaria, para mí, es otra fórmula de hacer ciudad.
    Con 5000 niños de los colegios de Port Elizabeth recreamos la enorme cumbre que celebra el fin del apartheid.
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    [4:10 pm] DESCANSODESCANSO
    22:25 [4:25 pm] SecciónSección 3: BUILT
    result_box3 Kenneth Bailey. Diseño de estrategias para la intervención social.
    Christoph Shaefer. Park Fiction.
    ...
    J.D.: Eso es una cosa, pero para mí hay algo poderoso en comprometerse con la gente afectada por la circulación del dinero. Realmente ir a los espacios donde el cambio se necesita ahora, conocemos las comunicaciones, podemos cambiarlas.
    C.G.: Se trata de activar la lucecita en la gente. Debemos creer que podemos hacerlo. La gente que quiere discutir con el estómago lleno, esos seguirán discutiendo, pero quien tiene el estómago vacío es la que me interesa. No iré a hablar contigo porque eres el poderoso, iré a hablar con la gente que realmente va a provocar un cambio.
    ...
    [5:30 pm] SecciónSección 4: FLÂNEURS.
    Tony Chakar. Protesta y medios sociales.
    Vito Acconci. Cambiando espacios públicos.
    (view changes)
  5. page Segundo Día edited ... PRESENTACIÓN. Rebecca Solnit, “A Thousand Stories in the Naked City” ¿Cuántos mapas habéis vi…
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    PRESENTACIÓN. Rebecca Solnit, “A Thousand Stories in the Naked City”
    ¿Cuántos mapas habéis visto hoy? Vamos a arreglar eso.
    ...
    hablar de Gclub mapas. Mucha
    Todo el mundo aquí contiene varios mapas del camino que ha tomado para llegar aquí: por dónde ha pasado, qué caminos ha evitado… No es una conferencia de ciudades: quiero hablar de mapas porque nos dicen dónde estamos, cómo son las ciudades.
    Google Maps te muestra salidas de autopistas, la gente añade restaurantes… pero esto no es simplemente una cuestión de añadir restaurantes, sino que nos dice qué ver y cómo verlo.
    (view changes)

Thursday, August 28

  1. page Segundo Día edited ... Programa detallado: __http://creativetime.org/summit/schedule__ CREATIVE TIME SUMMIT - JORNAD…
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    Programa detallado: __http://creativetime.org/summit/schedule__
    CREATIVE TIME SUMMIT - JORNADA 2ª
    17:00[11:00 am] BIENVENIDA.BIENVENIDA. Laura Raicovich
    PRESENTACIÓN. Rebecca Solnit, “A Thousand Stories in the Naked City”
    ¿Cuántos mapas habéis visto hoy? Vamos a arreglar eso.
    ...
    Este es el último mapa que os voy a enseñar (imagen). Lo que no hay en las ciudades y las formas son las concentraciones químicas que hay en el suelo. En este mapa los ornamentos que aparecen son una mentira de la Historia.
    Hay diferentes mentiras históricas sobre la ciudad de Nueva Orleans y la concentración química que hay en su suelo.
    17:30[11:30 am] SecciónSección 5: ACCEDIENDO
    con Emmanuel Pratt. Gentrificación urbana.
    Lara Almarcegui. La vida de los detritus urbanos.
    ...
    Cuando estudio una ciudad, ciudades europeas contemporáneas, veo mucho diseño y parece que todo el espacio a mi alrededor está diseñado por otra persona.
    Los terrenos que encuentro interesantes son áreas que esperan desarrollo, lugares donde todavía nada ha pasado. Y realmente esos lugares ofrecen una escapada para el arquitecto.
    ...
    olímpicas, entre otros.otros Holiday Palace.
    Hice un proyecto como respuesta en Bélgica: en Hemt encontré una parcela de tierra grande estupenda, en el centro de la ciudad, sin valla, abierta, accesible, tenía un puente, agua, árboles.
    Mi trabajo consistió en convencer a la alcaldía que lo retuviese como espacio abierto, que se quedase así en el centro de la ciudad (proyecto “robarle tierra a la arquitectura”): me enfrenté a la diferencia entre “proteger la tierra” por sus cualidades naturales y una tierra, parcela “abandonada” en el centro de la ciudad. Hay un montón de reglas en los parques naturales (nada de picnics, de música…) que yo no quería mantener para este trozo de tierra.
    ...
    R.C.O.: Es sobre diferentes tipos de medios. Para mí, cualquier estudio de planificación urbana debería contar con artistas para reinventar las cosas, para dar nuevas visiones sobre ello.
    L.O.: Cuando me preguntaron por qué usábamos basura o alimentos en mal estado pudiendo usar alimentos “buenos” indicamos que era parte del proyecto usar alimentos que estaban a punto de perderse.
    18:30[12:30 pm] REGIONALREGIONAL REPORT. COLOMBIA:
    Voy a hacer un informe personal. En un conflicto donde las voces personales son difíciles de localizar, haré un informe sobre un país que intenta borrar la Historia.
    Este fin de semana tenemos en la capital de Colombia un evento y el Salón de Artistas Nacional está teniendo lugar en Medellín.
    ...
    Este trabajo mío es sobre una isla en las Bahamas que tenía el primer narco colombiano. Está también en La Rebeca, un barrio inglés.
    18:50[12:50 pm] DESCANSO. Volvemos a las 19h50
    19:50[1:50 pm] KEYNOTEKEYNOTE PRESENTATION. Lucy
    Nato Thompson: ¿Qué es Creative Time? No es arte ni es práctica social. Ahora escucharéis a Lucy.
    Fue genial ver las ideas específicas que se presentaron ayer. Voy a ser mucho más general y un poco más retro: hay mucha reinvención sucediendo ahora.
    ...
    Lo que veis en el escenario no son cosas ni subhumanos. He cumplido condena también y seis años después, Bush me sacó de la cárcel en 2007. Puedo sentirme cercano a esta gente, pasé un poco de tiempo en una celda de aislamiento, y literalmente casi me volví loco. Así que ver su valentía y coraje después de tantos años en celdas de aislamiento es una inspiración. Muchas gracias por permitirnos tener esta conversación.
    Para cerrar, mis compañeros de escenario estarán de pie un minuto por cada año que estuvieron aislados en una celda. Brenda lo hará por su hijo que ahora mismo está en un correccional.
    21:20[3:20 pm] CORTOMETRAJE.CORTOMETRAJE. Halil Altindere,
    CONVERSACIÓN. Pedro Reyes & Antanas Mockus Šivickas
    Pedro Reyes es un artista mexicano cuya obra combina el diseño, el cine, la arquitectura y la pedagogía, con el objetivo de crear soluciones a los problemas sociales mediante el aumento de la capacidad de acción individual y colectiva. Odia las armas y hace algo al respecto. En 2008 fundió 1.527 armas automáticas y las convirtió en el mismo número de palas, que fueron utilizadas para plantar árboles en todo el mundo. También transformó 6.700 armas en instrumentos musicales, ya que, como dice, "la música es lo opuesto a las armas".
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