CARLA ZACCAGNINI'S WALL AT GENTIL CARIOCA, RIO DE JANEIRO

Parede Gentil

A Parede Gentil é um projeto no qual a fachada lateral da galeria é ocupada a cada quatro meses com uma nova intervenção, apoiada por um colecionador. Desse modo, A GENTIL CARIOCA busca incentivar o colecionismo e criar uma relação com a rua e a comunidade entorno da galeria. A partir do dia 12 de setembro, A GENTIL CARIOCA apresentará a 11° intervenção da artista paulista Carla Zaccagnini, que ficara exposta do dia 12/09/2009 a 23/01/2010 com o gentil apoio dos colecionadores Marta e Marcio Lobão.

O trabalho se chama "se essa rua fosse minha" e consiste na sugestão da possibilidade de realizar pequenas transformações pontuais na realidade, fazendo aparecer, por um gesto simples e reversível, sentidos que já estão contidos nas placas de ruas, mas se encontram ocultos entre as demais letras dos nomes. Digamos, por exemplo, que numa placa em que se lê Rua Luiz de Camões passaria a ler-se R a z ões

O mecanismo é muito simples, a parede estará pintada de azul, no mesmo tom das placas, e terá uma lista de ruas das imediações da gentil pintadas em branco em ordem alfabética, ressaltando algumas das letras de modo a formar uma frase que explica o jogo proposto. Ao mesmo tempo, serão distribuídas folhas de vinil do mesmo azul com retângulos recortados em duas medidas diferentes. nada mais.

A idéia é criar a possibilidade de construção de uma mensagem desconexa que se espalha organicamente pela cidade, a possibilidade de um jogo que se dissemina ao infinito, porque uma vez que você começa a pensar nas alterações imagináveis, nessas palavras ocultas, passa a olhar todos os nomes de ruas e pensar nos outros sentidos que elas escondem, projetando nos nomes de personagens e datas históricas outros conteúdos.

*****

Gentil Wall

The Gentil Wall is a project in which the side facade of the gallery is occupied every four months with a new intervention, which is supported by a collector. Thus, A Gentil Carioca seeks to encourage new ways of collecting and of creating a relationship with the street and the community around the gallery. From 12/09/2009 to 23/01/2010, A Gentil Carioca presents the 11th intervention by Sao Paulo artist Carla Zaccagnini, with the kind support of collectors Marta and Marcio Lobão.

Zaccagnini's work is called 'If this was my street' and suggests the possibility of making small changes in the specific reality through a simple gesture, by making visible words already contained in the street signs, but that are hidden among the letters of the street names. For example, that a plaque that reads Rua Luiz de Camões would read R a z ões.

The mechanism is very simple, the wall is painted blue, in the same tone that the street signs, and will have a list of streets in the vicinity painted in white in alphabetical order, highlighting some of the letters to form a sentence explaining the game proposed.

The idea is to create the possibility of building a rambling message that spreads organically in the city, and the possibility of a game that spreads to infinity, because once you start thinking about the imaginable changes, you look at all street signs with their names coming from historical figures and dates and you think of all the other words that they hide, in this way projecting on to them, another content.

http://www.agentilcarioca.com.br

ERNESTO NETO'S 'COCO MANIFESTO'

Ernesto Neto's video Manifesto in defense of traditional coconut drinking and selling and against packaged coconut-water consumption.

RIO DE JANEIRO: VISIT TO PEDREGULHO SOCIAL EXPERIMENT

Mr. Hamilton, president of the Pedregulho housing association


original plan for Pedregulho 1946



Le Corbusier's urban plans for Rio de Janeiro, 1929



The Prefeito Mendes de Moraes Residential Complex, known as Pedregulho, was designed by the architect Affonso Eduardo Reidy (1909-1964) was built from 1947 and finished in 1952, to house government employees of the then capital of Brazil. Located in the Rio de Janeiro suburb of São Cristóvão, the 260-meter-long serpentine building has 272 housing units of different sizes, 68 per floor. Two additional apartment buildings, both 80 meters long are below, other of the planned buildings were never built. The serpentine form was probably inspired by Le Corbusier's 1929 unbuilt plan for Rio de Janeiro. The Pedregulho development covers an area of 50,000 m2, comprising the apartment blocks, an elementary school, a gymnasium, a swimming pool with dressing rooms, a health center (now abandoned), playgrounds, and a day care center.

According to Cabinet magazine "Pedregulho was also to represent to the outside world the direction of current Brazilian social reform. Therefore, families who were to represent this new society had to be checked for medical diseases before moving in. A criterion for these hand-picked tenants was their willingness to uphold the pure, white aesthetic of the architecture. Additionally, they had to agree to frequent inspections by the authorities. Employees from the Popular Housing Department had the power to periodically access the apartments and request that tenants abide by the regulations. The inhabitants had to remain clean. Of special importance was a communal laundry room with washing machines. To encourage its use, each tenant was given 2 kg of detergent annually as a gift from the city. The laundry room and representative tenants were part of the regular tour given to VIPs... Tenants could be evicted for lying to the authorities and social assistants regularly verified information provided by the tenants."

Today in a state of disrepair and with a bad reputation as a 'hot' spot within the city, the tenants have organized themselves to make some repairs in the building.

There is also an artist residency promoting artist's projects within the building
http://pedregulhoresidenciaartistica.wordpress.com/

'GRITO E ESCUTA' (SHOUT AND LISTEN) IN PORTO ALEGRE, 7A BIENAL DO MERCOSUL REPORT

Paul Ramirez Jonas, 'Publicar', granite rock, cork and pins, 2009


'Absurdo' curated by Laura Lima

'Cabare' by Alejandra Seeber


hanging sculpture by Nina Lola Bachhuber


'La Mer' installation by Cabelo


'Fictions of Invisibility' curated by Victoria Noorthoorn

theatrical black curtains separating video spaces


Jerome Bel, 'Veronique Doiseneau', 2004


Francois Bucher, 'Severa Viglilancia', 2008


Gabriel Sierra, 'Spatial Composition to organize a week', 2009


Mario Peixoto, 'Limite', 1931


'Collective Biographies' curated by Camilo Yanez


Jordi Colomer, 'Avenida Ixtapaluca', 2009



Juan Downey, 'Video-TransAmerica', 1976-1977, filmed while living with the Yanomanmi indians, the world's largest isolated indigenous community, in the Brazilian Amazonia.


Hoffman's House, upside down tree with earphones with counterculture music from Porto Alegre


'Arvore Magnetico/Magnetic Tree' curated by Mario Navarro:
All the works will undergo ten changes in order to demonstrate to the audience that a work of art and its processes do not come to an end in the artist's studio or at the beginning of an exhibition. The works will follow three diverse dynamics for change. First, a cluster entitled "constructive," where the works take on new elements in order to comment on the evolution of the show. A second group of works deals with the notion of neutrality in the sense of apparent inactivity. The final cluster of works tackles change from a destructive perspective, where, basically, parts of the works will be removed. As a whole, the Magnetic Tree exhibition attempts to be a living system for the artist's work and a model of visual thinking on art and its processes.







Jonathas de Andrade, 'Ressaca Tropical', 2009


Jose Carlos Martinat, 'Monumentos vandalizables: Abstracción de poder I, Abstracción de poder II ', 2009



Diego Fernandez, 'Protocolo Ouro Preto', 2009 ( reconstruction and destruction of Cildo Meireles' pavillion at the 2009 Venice Biennale)


Mariela Scafati, 'En Busca del Cuadro sin Nombre', 2009


Cristobal Lehyt, 'Lagoa', 2009


'Projetaveis' curated by Roberto Jacoby

Fabiana de Barros, 'Fiteiro Cultural Second Life', 2007-2009


Terence Gower, 'The Dance Music Collaborations', 2009


Karina Peisajovich, 'Machine to Produce Colours', 2009


'Desenho das Ideias' curated by Victoria Noorthorn

Iran do Espirito Santo, mural, 2009



Juan Downey, drawings done while living among the Yanomami, 1976-1977


Edgardo Antonio Vigo, 'Three details of a work which I have never done', 1978


Cildo Meireles, 'In a beach or in a desert, dig a hole of the size you want, sit down and wait in silence, until the wind fills it entirely', 1969


Jorge Carballo, 'SudamericanOS', 1974-1976



Edgardo Antonio Vigo, 'Diagonal Cero', publication, 1968




Paulo Bruscky, 'Poesia Viva', 1977




Marta Minujin, 'The Parthenon of Books', 1983


Milton Machado, 'Hotel Tropical in Guanabara Bay', 1978


7th Mercosul Biennial
Grito e Escuta (Scream and Listen)
Porto Alegre, Brazil
October 16 to November 29, 2009

The conceptual foundation for the 7th Mercosul Biennial entails a methodological shift: it positions a reflection on artistic processes today at the core of the Biennial, focusing on the creative energy of artists who posit both reflexive pauses and expansive actions. We are interested in working with artists who reflect on their roles, while making way for new critical perspectives, affirming their importance as social players and constant producers of necessary critical visions. We are interested in minimal, specific signalings whose consequences are vast. We are interested in generous gestures, in the constructive quality of those gestures, in the artists´ aesthetic, ethical and conceptual formulations, and in their ability to listen. As a whole, we propose a system focused on creative processes –rather than specific themes–, a system bound together by the notions of action and reflection and their attendant tools. We attempt to create a Biennial that is, in itself, a system of dynamic possibilities, where each autonomous viewer can build his or her own system for reading the event.

In line with this shift, in the curatorial team of the 7th Biennial, artists will occupy the role of curators, develop the educational tools and programs, take a leading role in creating the Biennial’s image and communication, and conceptualize its publishing projects including the mass-scale, low-cost publications to be produced. The curatorial team includes Chief Curators Victoria Noorthoorn (Argentina) and Camilo Yáñez (Chile), Curator of Education Marina De Caro (Argentina), Adjunct Curators Roberto Jacoby (Argentina), Artur Lescher (Brazil), Laura Lima (Brazil) and Mario Navarro (Chile), RadiovisuaL Curator Lenora De Barros (Brazil), and Curators of Publications Erick Beltrán (Mexico) and Bernardo Ortiz (Colombia). The centrality of the artist is felt in each and every action undertaken by the Biennial, as well as in its exhibitions and programs.

All the while, the 7th Biennial attempts to break limits in terms of both time and space. In time, because this is an ongoing Biennial: it is our hope that its educational methodologies will continue to operate for a time after the formal closing of the event; while one of the Biennial’s exhibitions will be open indefinitely on the www. In space, because the physical limits of the Biennial do not coincide with the boundaries of Porto Alegre, Brazil or even Mercosul: the artists and their areas of operation go beyond borders.

The Biennial’s programs will be geared towards a public from a variety of locations and backgrounds. The Residency Program - a part of the Educational Project - is to take place months before the opening of the Biennial in Porto Alegre and in various communities throughout the State of Rio Grande do Sul. In it, artists will design new methodologies for the educational system. The Publishing Program envisions a system of mobile, low-cost publications that can be assembled by the viewers themselves, who will be able to access the works in the Biennial from multiple perspectives. This program also supports a multifaceted conception of communication: in this Biennial, there will be artworks in the media. Finally, our RadiovisuaL program, which symbolizes the communication interest of this 7th Biennial, will bring the Biennial’s processes of construction and debate to both nearby and distant listeners.

Together, the Biennial’s exhibitions and programs constitute an organic system, geared towards expansion and openness. To underscore the importance of the latter, the 7th Biennial will organize an open call for submissions for Projetáveis [Projectables], an exhibition that will travel with no luggage and be displayed simultaneously at the Biennial itself as well as in a number of cities around Brazil and the rest of the world.

Furthermore, the title of the Biennial, Grito e Escuta [Screaming and Hearing], speaks of the importance of exploring multi-directional communication between a world in a state of conflict and an artist who listens and responds, an artist who produces meanings for the world to listen. Such communication takes place through multiple languages and seeks to break the hegemony of visuality. Thus, the 7th Biennial explores sound, body movement, and social and educational experience as integral parts of art today. Furthermore, the title underscores our intention to include a wide range of contents: from the artist who undertakes an action to effect a change or have a specific impact on reality, to the artist with a reflexive attitude who carefully owns up to his or her environment and captures the power of conversation as a possible model for a better world.

Victoria Noorthoorn and Camilo Yáñez
Chief Curators, 7th Mercosul Biennial
http://www.fundacaobienal.art.br/

PORTO ALEGRE: VISIT TO MUSEU IBERE CAMARGO BY ALVARO SIZA

Rodrigo Moura and Jochen Volz



Rivane Neuenschwander








Adriano Pedrosa




Porto Alegre's Lagoa dos Patos on a rainy day a la Hiroshi Sugimoto

http://www.iberecamargo.org.br/

DECOMPRESSION AT 'SITIO DE EXPERIMENTACION TROPICAL', RIO DE JANEIRO

tropical office 1


tropical office 2


tropical office 3



"The Set (Sitio de Experimentacion Tropical) is a terrace, a panorama and an eclectic style house located in an old neighbourhood of Rio. This eclectic identity from the early 20th century made it possible to add a few more layers during the renovation like a Copacabana/Burle-Marx floor and some Barragan pink walls, but also the great green/pink Mangueira color combination.

The SET is a place to observe, enjoy and describe the effects of "tropicalization" but it can also be used like a giant space suit to protect and isolate from too much pressure. The panorama in front of the terrace is a permanent unwritten novel about urban tropical life and sugarloaf, birds, airplanes…"

Dominique Gonzalez Foerster. ‘Sitio de Experimentacion Tropical’, in ‘Case Study Houses’ a special edition of Pablo Internacional Magazine, 2008.

TRISTES TROPIQUES

“Tropical countries, as it seemed to me, must be the exact opposite of our own…”

"As we got steadily near the tropics, the heat made the hold more and more unbearable, and turned the deck into a mixture of dining-room, dormitory, nursery, wash-house and solarium"

"I imagined Brazil as a tangled mass of palm leaves, with glimpses of strange architecture in the middle distance, and an all permeating smell of burning perfume"

“The transition from house to street was less clearly marked than it is in Europe. No matter how smart the shop-front, the goods have a way of spilling over in the street, so that you hardly notice whether you are, or are not, ‘inside’ the shop. The street is a place to be lived in, not a place to pass through. It is at once tranquil and animated – more lively, and yet more sheltered, than our streets at home.”

“People generally think of travel in terms of displacement in space, but a long journey exists simultaneously in space, in time, and in the social hierarchy. Our impressions must be related to each of these three before we can define them properly; and as space alone has three dimensions all to itself we should need at least five to establish an adequate notion of travel.”

“That I had crossed the Atlantic and the Equator and was near the tropics I knew form several infallible signs: among them , the easy-going damp heat which emancipated my body from its normal layer of woollens and abolished the distinction (which I recognized, in retrospect, as one of the marks of our civilization) between ‘indoors’ and ‘outdoors’.”

“The tropics are not so much exotic as out of date. It’s not the vegetation which confirms that you are ‘really there’, but certain trifling architectural details and the hint of a way of life which would suggest that you had gone backwards in time rather than forwards across a great part of the earth surface”

Claude Levi Strauss, ‘Tristes Tropiques’, Criterion Books, New York; first American Edition 1961, French Edition 1955

DR. CLEMENTINE DELISS, NEW DIRECTOR OF THE MUSEUM FOR WORLD CULTURES IN FRANKFURT

Dr. Deliss photographed outside Greville House, her London residence


Neue Direktorin für das Museum der Weltkulturen

Dr. Clémentine Deliss soll nach dem Wunsch des Frankfurter Kulturdezernenten Prof. Dr. Felix Semmelroth die neue Direktorin des Museums der Weltkulturen werden. Die 49-jährige gebürtige Britin, Tochter einer französischen Mutter und eines österreichischen Vaters, lebt derzeit in London und ist Leiterin des wissenschaftlichen Langzeit-Projekts „Future Academy“. Dabei handelt es sich um ein internationales Kunstlabor, das in Kooperation mit dem Edinburgh College of Art, den National Galeries of Scotland und der University of Edinburgh neue interdisziplinäre Formen zukünftiger Kunstinstitutionen gemeinsam mit Studierenden, Künstlern und Wissenschaftlern untersucht und entwickelt. Ein Schwerpunkt liegt dort auf der zukünftigen Ausgestaltung von Sammlungen. Zudem leitet sie das „Randolph Cliff Artist in Residence Programme“ des Edinburgh College of Art und der National Galleries of Scotland.

Clémentine Deliss studierte Ethnologie und Gegenwartskunst in Wien, Paris und London und spricht fließend Deutsch, Französisch und Englisch. Sie wurde an der University of London mit einem Thema über die Französische Ethnologie am Anfang des 20. Jahrhunderts promoviert, das sich mit der Beziehung zwischen ethnografischen Sammlungen und dem Aufbau des Musee de L’Homme in Paris beschäftigt. Neben ihrer ethnologischen Ausbildung bringt Deliss viel Erfahrung als Leiterin von Festivals, internationalen Ausstellungen und Forschungsprojekten mit, bei denen die Interpretation und Vermittlung von Kunst und Ethnologie im Mittelpunkt stehen.

So war sie von 1992 bis 1995 die künstlerische Leiterin von "africa95", einem von der Royal Academy of Arts, London koordinierten Festival, an dem über 60 Institutionen in Großbritannien beteiligt waren und das afrikanische Künstler, Musiker, Filmemacher und Schriftsteller zusammenbrachte. Ihre interkulturelle Publikationsreihe "Metronome", wurde in zwei Editionen der documenta Kassel (10 und 12) offiziell präsentiert.

Als internationale Beraterin war sie für zahlreiche europäische und afrikanische Ministerien, Gremien und Kommissionen tätig, unter anderem für das französische und das senegalesische Kulturministerium. Für die Europäische Kommission war sie externe Beraterin für kulturelle Förderprogramme der EU wie Leonardo da Vinci und Socrates und erhielt 1996 einen Expertenvertrag für mehrere Projekte in Dakar, unter anderem rief sie damit die Publikation "Metronome" ins Leben.

Gastdozenturen, Projekte und Ausstellungsvorhaben führten sie durch ganz Europa und rund um den Globus, unter anderem nach Chicago, Melbourne, Tokio, Wien, Paris und von 1999 bis 2000 an die Städelschule in Frankfurt als Gastprofessorin.

Für das Museum der Weltkulturen stehen für Deliss eine Analyse und Neubewertung der Sammlungen, der Bibliothek und der unterschiedlichen Forschungsfelder im Hinblick auf die zukünftige Ausrichtung des sich erweiternden Museums im Vordergrund. Außerdem möchte sie die Zusammenarbeit mit anderen Kulturinstitutionen in Frankfurt wie beispielsweise der Universität, dem Literaturhaus, dem Städel und der Städelschule pflegen und weiter ausbauen und neue Kursangebote für ein breites Publikum entwickeln.

"Dr. Clémentine Deliss ist eine profilierte Kuratorin und Ausstellungsmacherin von herausragender interkultureller Kompetenz. Mit ihrer Arbeit an der Schnittstelle von Kunst und Ethnologie hat sie sich nicht nur international einen Namen gemacht, sondern sich auch weltweit prominent vernetzt. Ihre Vorstellungen von der zukünftigen Rolle eines sich vergrößernden Museums der Weltkulturen in einer von vielen Nationalitäten geprägten Stadt wie Frankfurt sind sehr überzeugend", erklärt Kulturdezernent Prof. Semmelroth. Der Stadtrat hat seine Entscheidung mit der Koalition abgestimmt und wird die Kandidatin im Herbst im Magistrat präsentieren. Sofern der Magistrat ihrer Berufung zustimmt, wird sich Clémentine Deliss mit ihren Überlegungen für das Museum der Weltkulturen der Öffentlichkeit vorstellen.

http://www.mdw-frankfurt.de/English/

English translation thanks to google translator:

New Director for the Museum of World Cultures

According to the wishes of the Frankfurt Director of Culture Professor Felix Semmelroth, the new director of the Museum of World Cultures is Dr. Clémentine Deliss. The 49-year-old, born in London and daughter of a French mother and an Austrian father, lives in London and heads of the long-term research project "Future Academy". This is an international art laboratory at Edinburgh College of Art, and run in collaboration with the National Galleries of Scotland and the University of Edinburgh, which tests out new interdisciplinary dimensions to future art institutions and is developed together with students, artists and scientists. The current focus of Future Academy is on the development of future collections. In addition, she directs the "Randolph Cliff Artist in Residence Program" of the Edinburgh College of Art and the National Galleries of Scotland.

Clémentine Deliss studied social anthropology and contemporary art in Vienna, Paris and London and speaks fluent German, French and English. She has a PhD from the University of London on French Ethnology at the beginning of the 20th Century and the relationship between ethnographic collections and the establishment of the Musee de L'Homme in Paris. In addition to her studies in social anthropology Deliss brings with her extensive experience as the director of festivals, international exhibitions and research projects, which focus on the interpretation and presentation of art and ethnology.

From 1992 to 1995, she was the artistic director of "africa95" together with the Royal Academy of Arts in London and which involved over 60 institutions and collaborations between African artists, musicians, filmmakers and writers.

Her cross-cultural publication "Metronome", was presented at two editions of Documenta, Kassel (Documenta 10 and 12).

As an international consultant, she has worked for several European and African government ministries, boards and commissions, including the French and the Senegalese Ministries of Culture. For the European Commission, she was external consultant for EU cultural programs such as Leonardo da Vinci and Socrates, and in 1996 received a major expertise contract to curate several projects in Dakar.

Deliss has been guest lecturer and directed research investigations and publishing projects across Europe and around the globe, including Chicago, Melbourne, Tokyo, Vienna, and Paris. From 1998 to 2000 she was a visiting professor at the Staedel School in Frankfurt.

For the Museum of World Cultures, Deliss reassess the collections, the library and the different fields of research in relation to the forthcoming expansion of the Museum and the proposed new building. She also wants to develop cooperation with other cultural institutions in Frankfurt such as the University, the Literature House, the Städel and the Städelschule and expand and develop new courses and a Laboratory of World Cultures.

"Dr Clémentine Deliss is a prominent curator and exhibition organizer of outstanding cross-cultural competence. Through her work at the interface between art and ethnology, she has not only made an international name, but also established a prominent worldwide network. Her ideas about the future role and the expansion of the Museum of World Cultures in a world shaped by many the many cultural backgrounds that can be found in a city like Frankfurt are very convincing" said Director of Culture, Prof. Semmelroth. The City of Frankfurt unanimously voted of Dr Clementine Deliss as Director of the Museum of World Cultures on 30th October 2009.

http://www.mdw-frankfurt.de/English/

VANGELIS VLAHOS AT THE 11TH ISTANBUL BIENNIAL

Vangelis Vlahos
Grey Zones
2009

The project consists of two sets of photographs, which have reference to two cases of Greek initiatives of utilization of the Aegean Sea in the 1970s. The first set of images involves the “Wodeco” ship, an American drill-ship that was used for the exploitation of Greece’s oil fields in the Aegean Sea in the mid 1970s while the second involves the “Koyda” ship, a soviet auxiliary vessel that inaugurated the bilateral agreement between Greece and the Soviet Union in late 1970s in order for the Soviet vessels to use the Greek shipyards in Syros Island for repairs. Both sets include only images depicting the actual ships and details of them without any other information related to their actual context. For example the photo set of Koyda includes images of the ship in front of Syros Island, inside the port surrounded by curious locals, in the shipyards, as well as interiors of the ship and snapshots of the crew’s daily routine. The images were found in newspaper photo archives and magazines. The photographs of each set are displayed in a line on a wooden shelf on the wall.

The general title of both series is “Grey Zones”.
Literally the title describes the visual effect of the photograph sets’ presentation. All the photographs are in grey tones and they are displayed one next to the other in a straight line producing a kind of frieze. Conceptually the term “Grey Zones” has a political impact mostly related to issues that deal with the delimitation of Greece and Turkey’s zones of influence in the Aegean Sea. The concept was first introduced by the Turkish authorities after the Imia/Kardak crisis in early 1996, in order to describe the undetermined sovereignty, i.e. of islets in Eastern Aegean the legal status of which it disputes.

Several of the Aegean issues deal with the delimitation of both countries' zones of influence in the air and on the sea around their respective territories. These issues owe their controversy to a geographical peculiarity of the Aegean Sea and its territories. The decades since the 1970s have seen a repeated heightening and abating of political and military tensions over the Aegean. Thus, the “Hora” crisis* of 1976 (after oil was discovered off the island of Thassos) was followed by the Bern Protocol, which provided that negotiations aimed at achieving a delimitation of the continental shelf should continue in a good faith, while the "Sismik I" crisis** of 1987 was followed by a series of negotiations and agreements in Davos and Brussels in 1988. Again, after the Imia/Kardak crisis*** of 1996, there came an agreement over peaceful neighbourly relations reached at a meeting in Madrid in 1997. The period since about 1999 has been marked by a steady improvement of bilateral relations.

About Wodeco: In the aftermath of the 1973 oil crisis, Greece, like many other countries at the time, embarked on a systematic effort to discover and exploit its local energy resources. In the mid 1970s the “Wodeco” drillship of the US oil company Oceanic made its first successful offshore oil strike in the Prinos location a few miles southeast of Thassos at the Northern part of Aegean sea. In the early 1980s local oil production had managed to cover almost 13 percent of the country’s petroleum needs. By the late of 1980s production started to drop without being able to explore for new deposits. Today it seems to be a problematic utility without a prosper future.

About Koyda: In September 1979 Moscow signs an agreement with Greece for repairs of Soviet merchant and naval auxiliary vessels at the Greek-owned Neorion Shipyards on the Aegean island of Syros. “Koyda” was the first Soviet ship that arrived for repairs in the shipyards.

In the late 1960s and 1970s the Soviet naval forces had greatly expanded its presence in the Mediterranean. During this period the Aegean Sea was of vital importance to the Soviets as a passageway for their ships sailing between the Black Sea and the Mediterranean. Neorion Shipyards is strategically located on the island of Syros, in the heart of the Aegean Sea. For the Soviets, the need for a naval presence in this area was an issue of military as well as political importance related to NATO’s policy toward the Mediterranean, Middle East and Northern Africa at that time. Taking also into account the Soviet Union's lack of bases in the region, the agreement of Neorion was considered important for establishing its political influence in the region. The issue provoked the reaction of the United States, NATO and Turkey arguing that this agreement disrupts the military balance in the area. This Soviet Union’s effort to improve its position in the area could be seen as part of the U.S.-Soviet strategic rivalry in the Middle East and Africa. Also one can interpret Greece’s relations with the Soviet Union in the late 1970s and early 1980s as part of an effort to diversify Greek foreign policy and reduce Greek dependence on the United States. In the following decades Neorion shipyards faced many challenges (competition from Southeast Asian companies) that almost led it into going out of business, but managed to survive, diversifying into new fields like the construction of luxury mega-yachts.


*In July 1976 the Turkish research vessel Hora entered the Aegean beyond the Turkish territorial waters. Andreas Papandreou, the leader of the opposition Socialist party at the time, called to sink the vessel (“sink the Hora”). The vessel “Hora” was later renamed Sismik 1.

**In late March 1987, when a Greek-based international consortium, announced that it would start searching oil in international waters east of Thasos Island, Turkey sent the survey ship Sismik 1 into the Aegean, lanked by warships. The Greek Prime Minister of the time, Andreas Papandreou gave the orders to sink the ship, if found within Greek waters. This incident nearly started a war between Greece and Turkey.

***Imia in Greek, or Kardak in Turkish is a set of two small uninhabited islets in the Aegean Sea, situated between the Greek island chain of the Dodecanese and the southwestern mainland coast of Turkey. Imia/Kardak was the object of a military crisis and subsequent dispute over sovereignty between Greece and Turkey in 1996.

http://www.iksv.org/bienal11/giris_en.html

NEW INDEPENDENT ART SCHOOLS IN THE AMERICAS!

BETA LOCAL
San Juan, Puerto Rico
Beta-Local is both an organization and a physical space in San Juan, Puerto Rico. Beta-Local was born from our interest in promoting an adventurous art practice as an end in itself, but also as a creative engine with social implications. Beta Local is a non-profit organization devoted to promoting critical and creative thought, action and production through an independent and flexible structure comprised of various experimental programs.
BETA LOCAL is formed of different components:
-La Esquina: a physical hub and non-traditional library open to the public one day a week.
-La Practica: A post-academic study and production program, through which Fellows coming from diverse disciplines take a project from concept to production.
-The Harbor: A hosting program for visting artists, makers, and thinkers. Beta local provides safe harbor in reciprocal exchange for the visitors' skills, thoughts and commitment to the Beta-Local project.
-La Ivan Illich: An open experimental school through which the public suggests, requests and creates courses and workshops.
-Lo Publico: Presentations, exhibitions and other public events
Beta Local is a project initiated by Michy Marxuach and Bea Santiago
http://www.betalocal.org/


CIA-CENTRO DE INVESTIGACIONES ARTISTICAS
Buenos Aires
EL CENTRO de Investigaciones Artísticas is a physical and virtual space of interaction and debate for artists and thinkers from around the world, particularly those in Latin America and Spain. The purpose of el CENTRO is to provide critical tools for the formation and development of the artistic community in order to intervene in the constantly redefined cultural map of the moment. The work of el CENTRO goes beyond the frontiers of genres and disciplines, with an emphasis on those that expand the borders of practice, genre and media; those that propose new ways of production, of exhibition and exchange; those that explore broader social contexts than the institutionalized one. Writers, musicians, philosophers, architects, designers, film-makers, historians, psychoanalysts, technologists, performers, photographers, visual artists, and theatrical artists, among many others, will converge at el CENTRO. The activities will have a strong pedagogical component based on historic research and art theory conducted virtually and physically. In August 2009, a wide-ranging program of courses, workshops, seminars, presentations and conferences will commence at el CENTRO’s headquarters.
El Centro de Investigaciones Artísticas was founded by Graciela Hasper, Roberto Jacoby and Judi Werthein.
http://www.ciacentro.org/


PIESP-Programa Independente da Escola São Paulo
Sao Paulo
Offered as from March 2010, the Escola Sao Paulo Independent Program – PIESP is designed aiming for artists who are at the beginning of their career. Conceived and directed by his creator, curator Adriano Pedrosa (founder of the Bolsa Pampulha in Belo Horizonte), PIESP program has one year duration in visual arts. The course consists in meetings between young artists with top artists and curators from Brazil, to discuss and develop language and projects. The program will open enrollments for a limited number of young artists who will be chosen by the School. Target public being the young artists at the beginning of their career who already have a language or work developed.
The program is inspired on the international art programs such as the Independent Studio Program from the Whitney Museum and is structured through critical seminars or critic classes, individual meetings with the artists participants and lectures.
Seminar Leaders and Tutors: Adriano Pedrosa, Ana Paula Cohen, Beatriz Milhazes, Carla Zaccagnini, Ernesto Neto, Julieta Gonzáles, Ivo Mesquita, Leda Catunda, Marcos Moraes,Rivane Neunschwander, Rodrigo Moura e Rosângela Rennó.
http://www.escolasaopaulo.org/atividades/programa-independente-da-escola-sao-paulo/programa-independente-da-escola-sao-paulo-2013-piesp



SOMA
Mexico City
SOMA is an experimental project conceived to optimize discussion and exchange in the field of contemporary art. Our goal is to produce a counterpoint to the dynamics of art schools, museums, and galleries. SOMA is a generator of discourse within an international community based in Mexico City, and has been conceived by local contemporary artists with the intention of building upon the experiences of alternative spaces like La Panadería and T44. We have designed a unique platform for our specific cultural context.
SOMA is open to the general public and consists of three basic parts: 1-a residence program for international artists and critical theorists.
2-a program for the professional education of contemporary artists from Mexico and other countries
3-a forum for artist talks, conferences, video screenings and other events on a weekly basis.
SOMA is a non-profit organization.
Collaborators: Artemio, Eduardo Abaroa, Eduardo Thomas, Francis Alÿs, Joaquín Segura, Juan Carlos Reyna, Laureana Toledo, María Alós, Mario García-Torres, Pablo Vargas-Lugo, Raúl Ortega Ayala, Sofía Táboas, Teresa Margolles, Yoshúa Okón.
http://somamexico.org/

CAROLINA CAYCEDO'S 'DAY TO DAY' PUBLICATION AVAILABLE ONLINE FOR FREE DOWNLOAD OR PURCHASE

Hi friends,

I hope this message finds you well.

The daytoday book is finally available online, you can download it for free, or obtain a hard copy here http://www.lulu.com/content/paperback-book/daytoday/7698078

I am also attaching a web version of the book so you can print, copy, resend, upload on any webpage and share.

I presented the book last month at the Frieze art fair in London. It was a one day event within Frieze projects (you can see more about it here: http://centrefortheaestheticrevolution.blogspot.com/2009/10/carolina-caycedos-last-day-to-day-in.html)

For this I printed 100 copies. That day I exchanged around 85 of them! Daytoday books were exchanged for other books, personal belonings or I Owe You's. Some of the IOY's have already started to arrive by post.

The rest were distributed for free at the Creative Time Summit last week in NYC.

I hope you enjoy it and come visit me soon in PR!
Peace
Caro

DAYTODAY is a public barter network of personalized exchanges created by Carolina Caycedo. It offers alternative ways of meeting business and personal needs- without using money. Through DAYTODAY Carolina is willing to barter, share, give, receive and redistribute knowledge, commodities and services as part of a daily exercise of anarchy, a development of a personal and alternative gift economy and a constant search for freedom.

DAYTODAY has visited cities like Vienna, London, San José, Berlin, New York and Los Angels. Inspired by her recent bartering in Los Angeles in July 2009, and as part of a residency at g727, Carolina has decided to end DAYTODAY. She is shifting her swapping efforts from a person-to-person exchange that was coming from and inserted in an artistic framework, towards a communal exchange that can help build up and tighten community bonds in her own locality in Puerto Rico.

'TROPICAL PUNK' TETINE'S NEW VIDEO

Tetine's brand new video for Tropical Punk.
Directed by Eliete Mejorado, with special guests Guilherme Altmayer and Tiago Borges.
Tropical Punk is the first single taken from Tetine's forthcoming album From A Forest Near You - OUT February 2010!

http://www.tetine.net

MATTHIEU LAURETTE 'APPARITION: JAQUES RANCIERE IS SO COOL' AT PERFORMA AT WHITE BOX IN NY

Matthieu Laurette, "Apparition (Jaques Ranciere is So Cool), Today Show, NBC, 30 October 2009", 2009, video, courtesy: Deweer Gallery, Otegem - Gaudel de Stampa, Paris


WHITE NOISE III: Pandora's Sound Box
Performa 09

November 2 - 22, 2009
Opening: Monday, November 2 from 7 - 9 pm

Group show with Pierre Bismuth, Agnieszka Kurant, Matthieu Laurette, Oswaldo Macia, and Carlo Zanni

WHITE BOX PROJECTS:
Nov 2-8 Django Hernandez: President's Secrets
Nov 8-12 Davide Bertocchi: Exhaust
Nov 12-15 Roberts Lazzarini: Rats
Nov 16-22 An impromptu event by Olaf Breuning

Special Performances:
Michael Aerts and Vadim Vosters, Refence, Nov 2 at 5pm

Curated by Lara Pan

WHITE BOX is pleased to present WHITE NOISE III: Pandora's Sound Box for PERFORMA 09 opening on Monday, November 2nd and on view through November 22nd. PERFORMA 09 is the third edition of the internationally acclaimed biennial of new visual art performance.

Pandora's Sound Box is an interactive multimedia exhibition conceived to destabilize and reactivate our vision of the current global political landscape through performance, sound, video and site-specific installations. The exhibition demonstrate a kind of experiment of associative imagination by which the viewer may explore other dimensions of Pabst's controversial 1929 film Pandora's Box, which exposed and explored the fear of female sexuality. Although considered thirty years ahead of its time, Pandora's Box was banned by Hitler upon its release and classified as "degenerate art." Pandora's Sound Box deals with the identification of fear in contemporary society, i.e. fear of war, terrorism, immigration, and the media, as conveyed through the strong material presence of sound. The exhibition in the main gallery space features work by Pierre Bismuth, Agnieszka Kurant, Matthieu Laurette, Oswaldo Macia, and Carlo Zanni. WHITE BOX PROJECTS space will feature special changing installations by Django Hernandez, Davide Bertocchi, Robert Lazzarini, and Olaf Breuning. Special performances by Michael Aerts and Vadim Vosters, as well as Tanja Ostojic will take place as part of the exhibition.

Pierre Bismuth's The Bruce Nauman Project is a new installation, which draws a futuristic scenario of the fate of art. Following the legacy of the avant-gardes whose artistic research was profoundly anchored in the exaltation of modern life, The Bruce Nauman Project captures the present in its most contemporary forms and transforms it into a blueprint for the future.

Agnieszka Kurant's Future Anterior (2008) is an edition of the New York Times from the year 2020, as predicted by a professional clairvoyant who collaborates regularly with Interpol, police and governments. His forecasts were developed into an issue of the New York Times with articles written by NYT journalists and other ghostwriters. In reproducing the exact parameters of the New York Times from a bar code to advertisements, it is printed with disappearing heat-sensitive ink, which becomes completely invisible above 26 C and returns to black when it is cooled down. As a result , the newspaper appears and disappears depending on the weather conditions, the temperature of the room or the warming touch of human hands. The piece draws on the existence of the elements of the future in the present. What is now completely fictitious will partly become true in 2020.

Since his first Apparition on Tournez Manege (1993), Matthieu Laurette has been developing an ongoing series of what he calls 'Apparitions' on TV and in the media. (In French, the word apparition means both 'apparition' and 'appearances'). ForPandora's Sound Box, Laurette will develop a new performative series of Apparitions, airing on various American national TV channels from October 27 through November 1st, and continuously on the Video Box in White Box's exterior window. For the opening on November 2nd, Matthieu Laurette will conceive a site-specific related performative event.

Oswaldo Macia's sound installation Darfur (2006) evokes a proverb from Darfur region: "The dog barks, but it makes no difference to the camel - we are the dogs, the world is the camel." Arranged in 12 channels, the piece is composed by a selection of two hundred different barking and yelping recordings made in a Cagliari compound of abandoned mongrel dogs. The analogy between the Darfur proverb, the abandoned mongrel dogs, and the deaf camel brings out a poignant sense of harsh severity, illustrating a world that refuses to listen or to act against the suffering of others.

Carlo Zanni's The Fifth Day is the second installment of a trilogy inspired by the Three Days of the Condor by Sidney Pollack. This work is a sequence of ten networked pictures depicting a taxi ride in Alexandria, Egypt.

Tanja Ostojic's delegated performance Misplaced Woman portrays activities from everyday life, signifying a displacement common among transients, migrants and disaster refugees as well as the itinerant artist traveling the world to earn her living.

Michael Aerts and Vadim Vosters perform Refence, a fencing confrontation between the artists, claiming a new position in the art of fencing between fencing as a sport, theater fencing, spectacle fencing and modern academic fencing known as mensur. The performance examines the boundaries of four work related values/dichotomies in our society (power/distance, uncertainty/avoidance, masculinity/femininity and individualism/collectivism). The artists are masked in their nonverbal confrontation, resulting in a kind of visual dance.

Django Hernandez' President's Secrets (2006) incorporates found record players, coffee tables and lamps with recorded texts and sound. Upside down lamps project transcriptions of secret presidential phone conversations.

Davide Bertocchi's Exhaust (2009) is a montage of several short You Tube video extracts taken from amateur videos recording sound tests of car exhaust pipe. These cars are shot as they are without tuning. Amongst the footage of car exhaust pipes, the artist includes a model called "Bertocchi Mufflers". This pseudo-biographical element is revealed through a completely useless and self-referential action which is a recurring aspect of the artist's work. The roar of an engine, as a polluting and rather expensive action, refers to the dissipation of energy and to its existential dimension.

Rats is a new work by artist Robert Lazzarini. The installation presents us with a sparsely lit quasi-apartment space. Referencing one of the most common phobias, musophobia (fear of mice and rats), Rats situates itself between formal mediation and physical response. It combines stereotypical notions of rats - disease, plague, fear - with perceptual dislocation.

For the last week of Pandora's Sound Box, White Box is please to host an exclusive impromptu event by Olaf Breuning in WHITE BOX PROJECTS space.

www.whitebox.org

MARIA INES RODRIGUEZ, NEW CHIEF CURATOR AT MUSAC

María Inés Rodríguez outside MUSAC (photos by Andreas Angelidakis)


Starting November 2009, María Inés Rodríguez will be Chief Curator of the Museo de Arte Contemporáneo de Castilla y León (Spain). During 2008-2009, she was the Curator of the Satellite Programme at Jeu de Paume (including exhibitions with Mario Garcia Torres, Vasco Araujo, Agathe Snow, Irina Botea, Andreas Angelidakis and Angelo Plessas, and a series of conversations with Cuauhtemoc Medina, Magali Arriola, Sofia Hernandez Chung, Julieta Gonzalez, Pablo Leon de la Barra, Lisette Lagnado and Tania Bruguera) as well as the Editor of the French art publication Point d’Ironie in Paris (founded in 1997 by agnès b., Christian Boltanski and Hans-Ulrich Obrist) where she edited publications with Robert Crumb, Carlos Cruz Diez, Koo Jeong-A and Walid Raad. Since 2008, she is Curator of the Berezdivin Collection –Espacio1414- in San Juan, Puerto Rico. Since 2006, she is also part of the Artist Pension Trust Latin America’s curatorial committee.

As an independent curator and art critic, she has worked on exhibitions and research projects on the strategies of appropriation of the public space in different spaces of contemporary art, which relate to art, design, architecture and urbanism. In 2007 and 2008 she curated Sueño de Casa Propia (with Pablo Leon de la Barra) which was exhibited at BAC/Centre de Art Contemporaine/Geneve, Casa Encendida/Madrid, Casa del Lago/Mexico City and Vimcorsa/Cordoba, Spain. In 2007 she was also co-curator of the Encuentro de Medellin Biennale with among other curators Jose Roca, Oscar Munoz, and Jaime Ceron. Interested in printed editions, she has organized public lectures and exhibitions related to this topic, creating in 2004 Tropical Paper Editions to develop artists’ edition projects. She has also published the newspapers Instant City and Bogotham City.

Maria Ines Rodriguez was born in Colombia in 1968. Ms. Rodriguez studied Fine Arts at the University de Los Andes in Bogota and did a post-graduate degree at the Ecole Superieure d'Art Visuel in Geneva. Other exhibition projects include Bocas de Ceniza/ Juan Manuel Echavarria, and Cuando el Río Suena/Ma. Angélica Medina at the Alliance Francaise, Bogota; 100% Colombia Urbaine, Paris; Moderno Salvaje/Alexander Apostol at the Commercial Gallery, San Juan; De lo Mismo a lo de Siempre: Informal Strategies for the Appropriation of Public Space at UNIA Sevilla; Instant City, Instituto de Mexico, Paris; From Representation to Action at ExTeresa/Mexico City, Le Plateau/Paris and Planetario/Bogota; Silenciosamente, Contemporary Art Center of Chacao, Caracas, Venezuela; Yes, En Cualquier Lugar Puede Suceder with M&M projects in PR02 in San Juan, Puerto Rico and Lost Illusions at the V Biennal del Caribe, Museo de Arte Moderno in Santo Domingo. She has been awarded following grants: Fondation Patiño - Ville de Genève in 1994, American Center Foundation in 2006, and a residency at the Apex Art Center in New York in 2007.

'THE STORE' CURATED BY ADAM CARR AT ARTISSIMA TURIN

THE STORE
Curated by Adam Carr

With and stocking works by: Olivier Babin, Nina Beier, Pierre Bismuth, Stella Capes, Tomas Chaffe, Etienne Chambaud, Jason Dodge, Gintaras Didžiapetris, Claire Fontaine, Ryan Gander, Liam Gillick, Loris Gréaud, Arunas Gudaitis, Henrik Plenge Jakobsen, Gabriel Kuri, Juozas Laivys, Flávia Müller Medeiros, Darius Mikšys, Jonathan Monk, Paola Pivi, Dan Rees, Yann Sérandour, Dexter Sinister, Andreas Slominski, Ron Terada, Mungo Thomson, Mario Garcia Torres, Bedwyr Williams

And other people's projects: Top 100 by Davide Bertocchi; Dot Dot Dot by Dexter Sinister; Lester & Malasauskas by Raimundas Malasauskas & Gabriel Lester; Old News organised by Jacob Fabricius; illy Art Collection; PAPERWALL by Galleria Sonia Rosso

Picking up from where it previously took place (Gallery Tulips & Roses, Vilnius in 2008), THE STORE takes as its starting point its intended location – Artissima, Turin – and its occasion – a contemporary art fair – to form a celebration of the art object while aspiring to provide critical reflection on the manner by which it operates in the eyes of the art market. Both creatively and ironically, THE STORE sets out to address, challenge, and offer light relief to the current day forces placing pressure on worldwide economies and in turn the art market and its status.

All of the artists included in THE STORE have been invited to participate with works that will available to the general public. The result is an inventory comprising artwork by over 30 international artists, as well as projects curated by other people, all of which can either be purchased at relatively small prices or be taken away for free. Vitally, all of the pieces included are premised on, or contain characteristics of, the liberal and open-ended conditions by which they are available. THE STORE, therefore, makes available artworks by artists whose work is usually conserved in private galleries or art fairs for a selective few, and in doing so provides a new experience not only within commercial art fairs but also for exhibition visiting entirely. Interestingly, by making purchases from the goods on offer – selecting a pair of keys, a poster and not say a slice of a cake and/or a napkin, for example –viewers will in effect be curating their own shows which they can away with them. This shifts the role of the spectator into consumer and active participant, and in response to their activity, THE STORE will be subjected to perpetual change, order and reorder – altering both its form and meaning. THE STORE will be housed in a purpose built construction that will take and play on aspects synonymous with a store and its associated design elements will do so as well.

Adam Carr is an independent curator and writer currently based in London.

ARTISSIMA 16
THE INTERNATIONAL FAIR OF CONTEMPORARY ART IN TORINO
NOVEMBER 6 - 8, 2009 / LINGOTTO FIERE
Open to public 12.00 — 8.00 pm
Press conference and preview, November 5 - 12.00 pm / Vernissage, November 5 - 6.00 pm
http://www.artissima.it/

'IN SEARCH OF JOSE IVANILDO' BEING SHOWN AS PART OF 'SINGULAR MULTITUDE: THE ART OF RESISTANCE' AT REINA SOFIA, MADRID

'In Search of Jose Ivanildo', Pablo Leon de la Barra, video on DVD, 30 minutes, 2004


Multitud Singular: El arte de Resistir
14 de octubre – 12 de diciembre
Museo Nacional Centro de Arte Reina Sofia, Madrid

Al igual que cualquier registro sobre movimientos revolucionarios, Multitud Singular: El arte de resistir tiene una larga historia. Y, al igual que cualquier proceso revolucionario, es incompleto, porque el esfuerzo necesario para llevarlo a cabo siempre es mayor que los logros obtenidos. Durante los dos años invertidos en el proyecto, los cambios han sido constantes: se han producido películas nuevas, se han escrito nuevos libros y, de pronto, vivimos en un tipo de sociedad diferente donde la escasez sustituye a la abundancia.

Las primeras conversaciones sobre este proyecto se remontan a 2007, cuando la artista Perry Bard, afincada en Nueva York, sugirió que organizásemos conjuntamente un programa de cine que examinara las relaciones entre arte y política según la configuración de la sociedad actual. Su idea inicial de “películas para la ciudadanía” –que en términos generales puede entenderse como una denuncia de los ataques a la dignidad fundamental del hombre y de las relaciones entre activismo y poder– fue una especie de premonición del caos financiero a punto de extenderse por todo el mundo.

En efecto, los recientes y dramáticos acontecimientos han dejado claro que una economía en peligro puede vulnerar directamente derechos sociales y laborales. Multitud Singular: El arte de resistir pretende asomarse a nuevas formas de pensamiento sobre la idea de revolución, la idea de activismo y la idea de que actualmente tenemos que buscar nuevas estrategias de salida cuando los recursos son escasos. Reúne una ecléctica selección de obras mediáticas: películas independientes y experimentales y vídeos exploratorios, muchos de ellos creados para galerías de arte y museos. Estas obras responden al deseo de sus autores de investigar las ilimitadas posibilidades existentes en los lindes del gusto oficial y las circunstancias político sociales del presente, mientras rememoran sucesos, revelan traumas, median en el recuerdo y producen contraimágenesen el arte y la sociedad contemporáneas.

De modos distintos, la mayoría de los filmes seleccionados se centran en la idea de la insurrección y son ejemplo de la singularidad de esos movimientos, capaces de movilizar a personas o a grupos de personas para apoyar su causa “singular”. También muestran la no linealidad de cualquier movimiento que busca el cambio y ponen de manifiesto la irregularidad de los procesos revolucionarios. Por último, junto al programa audiovisual, el alcance de Multitud Singular: El arte de resistires también el de un proyecto multidisciplinar –que incluye conferencias y una performance producida ex profeso–, que expone declaraciones en una esfera pública, situada más allá del espectáculo de los medios de comunicación y que indica cómo los movimientos colectivos son quizá una de las pocas opciones que nos quedan si queremos asomarnos al presente. (B.S.)

http://www.museoreinasofia.es/programas-publicos/audiovisuales/multitud-singular.html

BANANAS IN BOGOTA!

Hector Zamora's public art project in two buildings in Bogota

PORNOCOCAS IN BOGOTA!

FEMINIST REVOLUTION IN BOGOTA: CAROLINA CAYCEDO 'NEITHER GOD, NOR BOSS, NOR HUSBAND' AT LA CENTRAL

cleaners of the building admiring Carolina's work


Katy Hernandez holding Carolina's Venezuelan resistance flag


Katy Hernandez, Don Edgar the technician and Beatriz Lopez


Revolutionary Machete


Nelcy's (Katy's mother) geometrical op mini sandwiches


art consultant Ana Sokoloff wearing the 'Ni Dios, Ni Patron, Ni Marido' T-Shirt

'ABSTRACT REALITY' COOPERATIVA INTERNACIONAL TROPICAL AT LA OTRA IN BOGOTA

view's of Cooperativa Internacional Tropical space at La Otra


(ABASTRACT) by Stefan Bruggemann, skillfully made neon in Bogota!


Eduardo Consuegra. Reframed Colombian Magazine's from the 80s. 'Planet of the Apes', 'V', and 'Johnny Walker'


Felipe Mujica, silkscreen on cardboard. 'Escuela de Verano', logo for the 1968 Summer School in Santiago, Chile, and 'Philips Sun' light bulb packaging with old Philips logo blown up


Los Super Elegantes in Athens, Greece. The photograph being exhibited in Bogota, the Athens of Latin America!


Jesus 'Bubu' Negron, drawings of his real life job as a gardener


Chemi Rosado's 'History on Wheels (Humberto Eco-Historia de la Belleza)'

Carla Verea, photographs of Guatemalan bodyguards


Carla Zaccagnini, 'Museu das Vistas'. 'Museu das Vistas' consists on a mechanism for constituting a collection of drawings mediated by discourse. These drawings are made by police artists, according to descriptions of views provided by any person willing to take part on the project. Each of these drawings is made on auto-copying paper; the original graphite drawings are given to describers while the Museu das Vistas collects the blue copies on yellow paper.


Tania Bruguera, 'Untitled', Bogota, 2009
a table, a chair, pens, a poll box, four questions for the visitors to answer:
1. What is your personal concept of a heroe? (Describe the characteristics and conditions he/she must have)
2. Why and for what does the figure of the heroe exist?
3. What is the difference you think exists between a leader and a heroe?
4. Do you think the figure of the heroe is possible in Colombia today?





visitor answering Tania Bruguera's questions


Carolina Caycedo, 'Don't Pay Taxes' banner


Colombian conceptual artist, Maestro Antonio Caro, in front of Carolina Caycedo's banner


Julieta Aranda, most powerful woman in the art world! Ranked no.8 according to Art Review's Power 100


Beatriz Lopez, toilet paper ribbon, ready-made


artist and collector Artemio, new owner of Beatriz Lopez toilet paper roll-ribbon for $666 US dollars!