Confessions of the Imperfect. 1848 – 1989 – today (a traverse through modern culture). 1848 and 1989 are two points of reference for modern history. Two revolutions: the first is represented by a symbol of the barricade during the February Revolution and the second by the fall of the Berlin Wall. With the exhibition Confessions of the […]
Arte Povera A-Z was an exhibition held by Cultuurcentrum Strombeek Grimbergen (Brussels) that reflected on the importance of Arte Povera during the decade of the 1960s. Thinking precisely on how “in the history of art it is sometimes possible to connect substantial changes of direction and priority to relatively specific moments in time” (Charles Harrison), I was commissioned […]
Concentrating on the idea of `museum as a forum of possibilities´, Museum of `Arte Útil´ as a Useful Institution. A democratic (?) Exhibiton Space focuses on the analyses of Museum of Arte Útil, which was an exhibition held until the 30th of March 2014 in the Van Abbemuseum in Eindhoven (Netherlands). Through examining a concrete institutional […]
In New Habits, CASCO (Utrecht) Andrea Fraser assures that “with each attempt to evade the limits of institutional determination, to embrace an outside, to redefine art or reintegrate it into everyday life […] we expand our frame and bring more of the world into it. But we never escape it.” (Fraser 2005, p.283) Thus, “it […]
A Revolution is not a bed of Roses is the title of my recent research study centered on the reflection of the social dimension of participation in art and the political implications of practices that depend on situation and locality to elaborate critique. For that matter, I was mainly using Tania Bruguera’s work “El susurro de Tatlin 6” (2009) as […]
Since the invention of the first motion-picture technology around 1890s, there has always been a fascination in comparing the development of cinema with the urban extension of the modern city. Thus, David B. Clarke argues in the Introduction of Previewing the Cinematic City that “the development of the city is related to cinema as the development of […]
Our graphical representation and understanding of space has been crucially influenced by the affirmation that the space is homogeneous. Thus, the geometric representation of the earth has affected the way in which we have converted our cities into contemporary geometrical illusions. However, many other theorists such as Michel Foucault in 1967 or Michel de Certeau […]
One of the most valuable things I have learned co-writing with different feminist friends, colleges or collectives and co-creating spaces with different artists and curators have been the necessity to formulate questions as a way to understand the intangible notion of truth. Jacques Rancière writes in The emancipated spectator (2009) that emancipation begins “when we challenge the […]
The museum still dominates the horizon of our material culture. The institutional practice of display, which can include organization, classification or selection of objects, deploy value that control the way we decipher our past (O’Neil 2007, p.14). However, art institutions can also reflect on specific contradictions in society, and therefore, the museum, which is the […]
In 333 BCE during the campaigns of Alexander of Macedon against the Persian Empire, Alexander was advancing with his army across Anatolia and came to Gordion. While at Gordion, the Macedonian king informed Alexander about a special wagon that was situated in the Temple of Zeus. The pole of the wagon was tied to the […]
Culture has become a major resource, playing an important role in social and economic developments. As in many cases, such a transformation has brought negative and positive aspects that need to be carefully studied since they are problematically intertwined. From one side, cultural and creative industries generate jobs and increase local income. But from the […]
The infinite circuit of possibilities created by the organization of items in an exhibition space is finally subjected to chosen connexions made by a curator or group of curators. Therefore, the definitive relation established between different objects in a specific space will communicate particular messages to the audience that will be deciphered by the use […]
Josh Harris founded in 1999 the project Quiet, an art project that enlisted hundreds of volunteers to live communally in a warehouse fully equipped with webcams.
In the text On how Buffy killed more than vampires. Fandom poaching & fans as collaborators I analyzed the extension of the term “to poach” (Henry Jankins, 1992), contrasting its meaning with a practical case as Buffy the Vampire Slayer TV show.
Since the beginning of the 1960s, many cultural practices have strongly demanded that art must be set free. However, free from what? Robert Smithson has defined museums as “cultural prisons”, places where vacant rooms transform works of art in pure elements to be consumed (Smithson 1996, 155). Therefore, in Smithson’s eyes, art should be set […]
Reflections is a collective project from Rocco Berger, Serafin Alvarez, Lara Garcia and Konrad Hempel, which consists of 16 loud speakers arranged in the space.
Reading was selected to be part of the S/T exhibition in the University of Barcelona in 2009.
Meshit is a young fashion label formed by Ida Steixner and Lena Krampf based in Vienna, their pieces plays with careful volume contrasts, designing androgynous shapes rooted in Urban culture.
Sound installation created in collaboration with Serafín Alvarez and Lara Garcia. It consisted of 12 speakers with 6 recordings from Barcelona and 6 recordings from Berlin placed behind two superposed maps of its cities (Barcelona-Berlin).