http://cargocollective.com Lorenzo Sandoval Tue, 16 Oct 2012 03:07:27 +0000 http://cargocollective.com en http://cargocollective.com/lorenzosandoval/Science-Territory-and-Subjective-Narratives http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Science-Territory-and-Subjective-Narratives Tue, 16 Oct 2012 03:07:27 +0000 Lorenzo Sandoval 4263929 Project for the Visual Art Price for Curators 2011 Can Felipa. Exhibition "Expeditions to the Void" at Can Felipa with Claire L. Evans, Gender Art Net, Regina de Miguel, Paloma Polo and Teresa Solar. (the title of the exhibiotn came from the workshop of Gender Art Net, experimenting collectivelly over the idea of giving names, reflecting on the taxonomy) Workshops at Hangar: - Gender Art Net. - Future Timeline of Regina de Miguel Conferences "Science, Science Fiction, Colonialism and Genre" at Museu Blau: - Juan Vicente Aliaga - Nicolas Maleve and Laurence Rassell Publication at Broken Dimanche Press. Designed by Txelografia. <img src="http://payload98.cargocollective.com/1/4/153402/4263929/Ciencia_Territorio.jpg" width="593" height="800" width_o="593" height_o="800" src_o="http://payload98.cargocollective.com/1/4/153402/4263929/Ciencia_Territorio_o.jpg" data-mid="22486967" border="0" align="left"/> (...) Science, Territory and Subjetive Narratives. 00. It is hard to come up with a suitable title for a text about “art made by women”. It is hard to avoid the loss of complexity when dealing with a discourse related to the gender issue that, in accordance to some authors (and following the ideas of Jean Rivière), is a masquerade by nature. What is intended here is to analyse how some positions held in the field of production of knowledge have historically been reserved to men, in very defined institutional roles (the explorer, the historian, the narrator, etc.) in order to establish an area between the narrative, the art, the historiography, the cartography, the edition, etc. 01. Science has articulated a representation system of the territory in accordance with –among other things- economical and ideological interests, a cartography of the world that has been developed in the basis of scientific parameters produced from a historical, occidental, male and white perspective imaginarium. The development of the positivist procedures was accompanied by control systems that obscured the economical exploitation of the colonies at the same time that the European modes of representation were being imposed. This idea translates in the use in détournement of the popular quote by William Burroughs, the scientific knowledge as a virus. 02. To confront this perspective of scientific knowledge as a virus, we can interpret the work of some female artists and cultural producers as a proposal to explore the scientific archives with a critical fascination approach. Through a series of narrative itineraries that discover hidden relations from the microhistory, the creation of fictions and the infra-ordinary one can carry out a critical rereading of their architectures, an anarcheology of the structures of knowledge and the everyday life and an analysis of the structures of the formation of conscience. In this way, experimenting a significative reorientation of the cultural materials, reframing the questions and the focus of interest. Questioning at the same time the devices, the methodologies, the selection of materials, the edition, the exhibition strategies and the construction of the presentation spaces. Aiming at generating resistance practices and pointing out certain tensions in the architectures of the production of knowledge. 03. Placed in a peripheral zone, the subjective narration from the woman as a storyteller is produced with a criticism that empowers the enunciation of a productive and suggestive discourse, which questions the Eurocentric and/or the Occidental model of creation of sense incorporated in every bureaucratic system. Hence, these stories/reports appear as fictions in combination with elements taken from the hegemonic representation of the reality in order to criticize the scientific and rational structuring model. Constituting a reformulation of the criteria of organization that corresponds to syncretistic logic, a hybrid approach of the remixed disciplines in the indefinite edges that lead us to a re-dimensioning of the cartographies and a reframing of the territorial relations. 04. We are facing a system whose structure persists by means of defined roles based on the hegemony of a series of positions inherited by the western ideological conformity that historically eradicates the difference, which defines its identity in opposition to the other. In the light of these enunciations, any activity that requires the empowerment of the roles of production of meaning, will be perceived as performativity instead of an enunciation: a bastard position that puts in crisis the arrangement of the territory and the constitution of knowledge in a gesture that removes the legitimation statement, allowing for the alteration of the stories as plots of variable formulation through subjective itineraries. Project for the Visual Art Price for Curators 2011 Can Felipa. Exhibition "Expeditions to the Void" at Can Felipa with Claire L. Evans, Gender Art Net, Regina... http://cargocollective.com/lorenzosandoval/Collective-projects http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Collective-projects Wed, 07 Mar 2012 05:31:13 +0000 Lorenzo Sandoval 2955327 - LaTejedoraCCEC - PISO - Correspondencias desde Eyjafjallajokull - Altes Finanzamt - A User´s Guide to the Millenium - BarraDiagonal - LaTejedoraCCEC - PISO - Correspondencias desde Eyjafjallajokull - Altes Finanzamt - A User´s Guide to the Millenium - BarraDiagonal http://cargocollective.com/lorenzosandoval/The-Rescue-of-the-Effects-Notes-for-a-theory-of-the-Reader http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/The-Rescue-of-the-Effects-Notes-for-a-theory-of-the-Reader Wed, 07 Mar 2012 04:57:56 +0000 Lorenzo Sandoval 2881163 GENERAL PUBLIC, 2012 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload29.cargocollective.com/1/4/153402/2881163/therescue.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload29.cargocollective.com/1/4/153402/2881163/therescue_o.jpg" data-mid="15043408" border="0" align="left"/> In a landscape where reality has long ceased to be seen without the presence of auxiliary instruments, which constructs at the same time its registration and setting it up as an archive, the experience does not conform directly in contact with the world but as a mediated doppelgänger. In this type of situation we should not forget that each of the disseminating and accumulating structures that support the architecture of the information is itself a technology with a built-in ideological organisational criteria, of inclusion and exclusion. This project is built from reflections on creative reading with an active attitude regarding materials from libraries, archives, collections or found-materials establishing with a critical fascination some series of narrative itineraries that discover hidden relationships from the intra-history, the creation of fictions and the infraordinary to practice a critical reading of their architecture, an anarcheology of the structures of knowledge and the everyday-life as well as an analysis of structures of consciousness formation. This research tries to present projects that blur the boundaries between the practice of curators, historians, researchers, cultural producers and artists. Thus, located in this area of indistinct borders, it essays a significant rearrangement of the cultural materials that restate the questions to be undertaken, as well as the focus of interest. In fact, all the participating artists are engaged to or from several disciplines: in addition to the context of art itself, speak of their work also located in editing, research, music creation, educational programmes, curating, organising events and reflecting on exhibition spaces. These are works that start at the same time questioning both the analysis of content as the actual means of implementation and presentation: devices, methodologies, materials selection, editing, exhibition strategies or building space. With: Daniel G. Andújar, Sol Calero, Constant Dullaart, Embankment, Herzbeat hotel, Bettina Hutschek, Jeleton, Christopher Kline, Phanos Kyriacou, Regina de Miguel, Alexandra Navratil, Paloma Polo, Teresa Solar, Poderes Unidos and JODI. A project by Lorenzo Sandoval With the support of: Ministerio de Cultura de España, General Public, GlogauAIR, Altes Finanzamt, Raum für Projektion. Collaborator: Spanische Botschaft Production S.T.I.F.F. GENERAL PUBLIC, 2012 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ In a landscape where reality has long... http://cargocollective.com/lorenzosandoval/Around-is-imposible-An-exploration-of-the-unexpected-in-the http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Around-is-imposible-An-exploration-of-the-unexpected-in-the Mon, 02 Jan 2012 07:15:08 +0000 Lorenzo Sandoval 2248902 Curatorial Prize of Inéditos. La Casa Encendida, 2011. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload.cargocollective.com/1/4/153402/2248902/swav_03.jpg" width="670" height="386" width_o="1094" height_o="631" src_o="http://payload.cargocollective.com/1/4/153402/2248902/swav_03_o.jpg" data-mid="11262153" border="0" align="left"/> Around is imposible. An exploration of the unexpected in the cartographical systems of Google. This is a project i curated in La Casa Encendida, inside of the context of the prize Ineditos 2011 for young curators. Around is impossible. (An exploration of the unexpected in the cartographical systems of Google) The concept of Terra incognita was used since the century XVI till the century XIX to refer to the non-explored areas of the world. Cartographers stopped writing it in maps when geographical associations started proliferating and the earth became fully known and represented. These unknown and dangerous zones would also be represented by monstrous creatures (the famous phrase Here be dragons). This concept was used to refer to the world beyond the limits of the Earth, as for the interior areas in continents, like interior Africa. Therefore, there was always a border, a space around it where one would be able to quest for a fictional world, a line beyond which the imagination would open its door, generating fears and the desire for the unexpected. Between a drawing of the World through cartography and the sky existed a relation of continuity: the first known maps are those that represented celestial constellations, the spherical form of the earth was found through the shadows projected by the sun, and the Polar star was what was used in the north hemisphere – where the mapping technology had been mostly developed –to identify the north. There is, therefore, a close relation between astronomy and cartography, we would further argue that also with astrology: drawing the world was almost equivalent to draw the divine eyes situated in the celestial sphere. A point of view similar to those of the satellites. There is a direct relation between drawing maps and controlling territories and people: either as in army technology for conquer, in economic development, or in the scientific cataloguing of the Whole world under the colonial parameters. Through the reading of an IP while our Google profile is active, we have a spatial positioning. Moreover, through the data of our own profile or the location of the IP, the map draws its own center. The cartographic systems of Google are a Total instrument: in its extreme voracity to represent of all the corners of the World include even what were the ways to confront the colonialist representations. As Estrella de Diego would argue in his book “Contra el mapa” (Against the map), Joaquin Torres García illustrates an inverted map of South America in his article “La escuela del sur”(the school of the south) in 1935 as a means to revise the existing western proposals of spatial order and planning. Among the many options of Googlemaps, this one of disordination is also included. Bringing again the unexpected (or producing it) in those worldviews, as the artists in this exhibition do, is the way to escape from the drawing of the world as an identical whole. with works of: Jesús Acevedo, Peter Baldes & Marc Horowitz, Robin Hewlett & Ben Kinsley, Daniel Jacoby, Jodi, Regina de Miguel, Max Neupert, Nick Newcomen, Antonio R. Montesinos y Jon Rafman. + workshop of Antonio R. Montesinos: (1:1) Scale game + the performance We Walk of Peter Baldes & Marc Horowitz + the conference of Max Neupert Point of View and Perspective. Why We like to Look from the Orbit. You can check more info downloading the catalogue. Alrededor es imposible. Una exploración de lo inesperado en los sistemas cartográficos de Google. Este proyecto de comisariado fue preparado para La Casa Encendida, dentro del contexto del premio Inéditos 2011 para jóvenes comisarios. El concepto de Terra incógnita se usó en cartografía desde el s. XVI hasta el s. XIX para designar las zonas no exploradas del mundo. Dejó de escribirse en los mapas a partir del periodo en el que las asociaciones geográficas comenzaron a proliferar y la Tierra pasó a ser por entero conocida y representada. Esa zona desconocida y peligrosa también se representaba mediante criaturas monstruosas (el clásico Here be dragons). El término se utilizaba tanto para el más allá de los confines de la Tierra como para zonas interiores de continentes, como el África interior. Había por tanto siempre un borde, un espacio alrededor desde donde saltar en busca de lo fantástico, una línea en la que la imaginación abría sus puertas hacia los miedos y los deseos de lo inesperado. Entre el diseño del mundo mediante la cartografía y el cielo había una relación de continuidad: los primeros mapas conocidos son aquellos que representaban las constelaciones celestes, la forma esférica de la Tierra fue hallada en relación matemática con las sombras proyectadas por el Sol y la Estrella Polar ha sido la que en el hemisferio norte -en el cuál se ha desarrollado la tecnología de los mapas – ha marcada el norte. Hay por tanto una relación próxima entre astronomía y cartografía; diríamos incluso con la astrología: diseñar el mundo era casi un equivalente a dibujar con ojos divinos situados en la esfera celeste. Un punto de vista igual al de los satélites. Existe una correspondencia directa entre el diseño de mapas con el control de los territorios y las personas: ya sea cómo tecnología militar de conquista, el desarrollo económico o la catalogación científica del total del mundo bajo los parámetros colonialistas. Mediante la lectura de IP cuando el perfil de Google se encuentra activo, tenemos un posicionamiento espacial controlado. Incluso según los datos de nuestro perfil o la situación de la IP el mapa dibuja su centro. Los sistemas de cartografía de Google son una herramienta total: en su voracidad absoluta de representación de todos los rincones incluyen incluso hasta lo que fueron las formas de enfrentarse a las representaciones colonialistas. Como nos cuenta Estrella de Diego en el libro Contra el mapa, Joaquín Torres García ilustra con un mapa invertido de Sudamérica su artículo “La escuela del sur” en 1935 para revisar las propuestas occidentales de ordenación territorial. Entre las opciones de Googlemaps, esta forma de desordenación está incluida. Volver a buscar lo inesperado (o producirlo) en esas representaciones del mundo, como hacen los artistas incluidos en la exposición, es la manera de escapar al diseño del planeta como un todo idéntico. con obras de: Jesús Acevedo, Peter Baldes & Marc Horowitz, Robin Hewlett & Ben Kinsley, Daniel Jacoby, Jodi, Regina de Miguel, Max Neupert, Nick Newcomen, Antonio R. Montesinos y Jon Rafman. + workshop de Antonio R. Montesinos: (1:1) Juego de escala + la performance Caminamos de Peter Baldes & Marc Horowitz + La conferencia de Max Neupert Puntos de vista y perspectiva. Porqué nos gusta mirar desde la órbita. Más info en el catálogo. <img src="http://payload.cargocollective.com/1/4/153402/2248902/5883753733_60b9654e60_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5883753733_60b9654e60_o_o.jpg" data-mid="11262088" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248902/5883755319_a8a02472d4_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5883755319_a8a02472d4_o_o.jpg" data-mid="11262092" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248902/5883756731_7c5ec4b6c7_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5883756731_7c5ec4b6c7_o_o.jpg" data-mid="11262102" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248902/5884320670_5177a787b9_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5884320670_5177a787b9_o_o.jpg" data-mid="11262108" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248902/5884319606_3b480c6ba4_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5884319606_3b480c6ba4_o_o.jpg" data-mid="11262120" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248902/5884319844_cff5fc4832_o.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/153402/2248902/5884319844_cff5fc4832_o_o.jpg" data-mid="11262132" border="0" align="left"/> Curatorial Prize of Inéditos. La Casa Encendida, 2011. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Around is... http://cargocollective.com/lorenzosandoval/Krizna-Jama-Speleology-of-the-device http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Krizna-Jama-Speleology-of-the-device Mon, 02 Jan 2012 07:13:01 +0000 Lorenzo Sandoval 2530586 BERLIN, 2010 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload11.cargocollective.com/1/4/153402/2530586/1314970197131470657901.jpg" width="465" height="262" width_o="465" height_o="262" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/1314970197131470657901_o.jpg" data-mid="12775936" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/1314970204131470677102_recorte_930.jpg" width="670" height="559" width_o="930" height_o="777" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/1314970204131470677102_recorte_930_o.jpg" data-mid="12775937" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/1314970212131470364207.jpg" width="465" height="262" width_o="465" height_o="262" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/1314970212131470364207_o.jpg" data-mid="12775939" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/1314970225131470366909.jpg" width="465" height="262" width_o="465" height_o="262" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/1314970225131470366909_o.jpg" data-mid="12775940" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/1314970238131470472111_620.jpg" width="620" height="349" width_o="620" height_o="349" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/1314970238131470472111_620_o.jpg" data-mid="12775943" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/13149701021314706302_MG_0847_opcion2.jpg" width="620" height="729" width_o="620" height_o="729" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/13149701021314706302_MG_0847_opcion2_o.jpg" data-mid="12775945" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/13149702441314708577_MG_0849_930.jpg" width="670" height="521" width_o="930" height_o="724" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/13149702441314708577_MG_0849_930_o.jpg" data-mid="12775973" border="0" align="left"/><img src="http://payload11.cargocollective.com/1/4/153402/2530586/13149702481314710120trabajada01.jpg" width="670" height="446" width_o="930" height_o="620" src_o="http://payload11.cargocollective.com/1/4/153402/2530586/13149702481314710120trabajada01_o.jpg" data-mid="12775984" border="0" align="left"/> En colaboración con Regina de Miguel. 2010. Instalación de vídeo HD 4´06´´ + conjunto de fotografías. Krizna Jama es una cueva descubierta en el 1838 y situada en Eslovenia, particularmente conocida por su cadena de veintidós lagos subterráneos. En la primera exploración científica de la misma fueron encontrados los esqueletos de un centenar de osos, que habitaron este lugar tiempo atrás, y que hoy se conservan en el Museo de Ciencias Naturales de Viena (por entonces capital del Imperio Austríaco). Sólo se hallan de estos restos en Krizna Jama, dos calaveras y unas pocas falanges sobre un sencillo dispositivo que es mostrado a la entrada. En este vídeo, de carácter documental, se registra la disposición, llevada a cabo por nuestro guía-espeleólogo, de la escena por medio de la colocación minuciosa de las diferentes piezas y su posterior iluminación. Dicha preparación es una acción deliberada y espontánea por su parte tras comunicarle nuestra intención de realizar una fotografía. De este modo, y como si de una escenografía se tratara, vamos captando paulatinamente, desde la más absoluta oscuridad del recinto, y por partes según las luces que enciende el guía, los distintos componentes de la imagen: unas fotografías, unos dibujos, una vitrina con los huesos de los animales y finalmente, el fondo de la cueva. Nuestro interés en este registro viene a poner de relieve la frontera de ficción implícita en estos “dispositivos de aprendizaje cultural”. Cómo los museos de Historia de la Ciencia marcan las pautas de representación del mundo a través de lenguajes formales y de qué forma estos dispositivos están siempre al servicio de una transferencia que, no por legitimada desde una tradición, resulta menos especulativa. BERLIN, 2010 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ En colaboración con Regina de Miguel. 2010.... http://cargocollective.com/lorenzosandoval/Publications http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Publications Mon, 28 Nov 2011 16:58:37 +0000 Lorenzo Sandoval 2279994 ONGOING ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ AROUND IS IMPOSSIBLE. An exploration of the unexpected in the cartographical systems of Google. <img src="http://payload.cargocollective.com/1/4/153402/2279994/ineditos3.jpg" width="670" height="380" width_o="970" height_o="551" src_o="http://payload.cargocollective.com/1/4/153402/2279994/ineditos3_o.jpg" data-mid="11437437" border="0" align="left"/> Publication of the exhibition Around is imposible in La Casa Encendida, Madrid, 2011. Design by Disismaineim. Download. Publicación de la exposición Alrededor es imposible en La Casa Encendida, Madrid, 2011. Diseño de Disismaineim. Download. Alrededor es imposible. Una exploración de lo inesperado en los sistemas cartográficos de Google. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ STATE OF MOTION Treatments of Displacement and Collectivism in Arts <img src="http://payload.cargocollective.com/1/4/153402/2279994/capa_final.jpeg" width="670" height="515" width_o="736" height_o="566" src_o="http://payload.cargocollective.com/1/4/153402/2279994/capa_final_o.jpeg" data-mid="11437700" border="0" align="left"/> This book is part of the project Displacement, that the Piso Collective developed during 2010. The publication is the product of an invitation made to several authors, with whom we have shared personal and professional experiences throughout the time, to reflect upon notions of displacement or about collectivism as a systematical creative method. The outcome is a publication of diverse approaches within the compass of these ideas, comprising of original texts and artwork created for this project. Designed by Bolos Quentes. Este libro es parte del proyecto Displacement, que Piso Collective desarrollamos durante 2010. La publicación es el producto de las invitaciones que hicimos a diferentes autores con quienes compartimos experiencia profesional y personal durante mucho tiempo, reflejando nociones de desplazamiento y colectivismo como métodos creativos. El resultado es una publicación con diferentes aproximaciones sobre estas ideas, reuniendo textos y trabajos artísticos creados para este proyecto. Diseñado por Bolos Quentes. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ INFRAESTRUCTURAS EMERGENTES Sobre Producción, Gestión y Difusión <img src="http://payload.cargocollective.com/1/4/153402/2279994/libroie_barradiagonal2.jpg" width="670" height="628" width_o="1287" height_o="1208" src_o="http://payload.cargocollective.com/1/4/153402/2279994/libroie_barradiagonal2_o.jpg" data-mid="11951683" border="0" align="left"/> This publication is the recopilation of the conferences, the 3 workshops and the 13 exhibitions in the symposium Infraestructuras Emergentes i orginazed in 2008. The project was about the collectivity in relation with the institutions, focusing in distribtuion, managment and disfussion. Edited by BarraDiagonal, a collective in which i take part. Designed by Gisela Ahumada. Infraestructuras_emergentes(function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "http://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })(); Esta publicación es la recopilación de las conferencias, los 3 talleres y las 13 exposiciones en las jornadas Infraestructuras Emergentes que organizé en 2008. El proyecto trataba sobre la relación entre la colectividad y las instituciones, enfocándonos en la distribución, la gestión y la difuación. Editado por BarraDiagonal, colectivo del que formo parte. Diseñado por Gisela Ahumada. (only spanish) ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Panorama (New Economy). de Mira Bernabeu. Este libro es una obra más de la exposición, celebrada en el marco de la programación del Centro de Arte Complutense, en concreto dentro de la convocatoria «Propuestas c arte c para la producción de proyectos». Un libro que incluye textos específicos y las diferentes entrevistas realizadas a profesionales del sector del arte contemporáneo ha sido publicado como resultado de todo el proceso desarrollado durante los años 2010 y 2011 (abajo enlace a la publicación en formato PDF). Inter Zone(function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "http://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })(); Link al proyecto. Publicación completa. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ONGOING ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ AROUND IS IMPOSSIBLE. An exploration of the unexpected... http://cargocollective.com/lorenzosandoval/I-m-getting-so-far-out-one-day-i-won-t-come-back-at-all http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/I-m-getting-so-far-out-one-day-i-won-t-come-back-at-all Fri, 04 Nov 2011 09:59:13 +0000 Lorenzo Sandoval 2253151 DUVE BERLIN, 2010 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload.cargocollective.com/1/4/153402/2253151/screeninginvite1.jpg" width="250" height="207" width_o="250" height_o="207" src_o="http://payload.cargocollective.com/1/4/153402/2253151/screeninginvite1_o.jpg" data-mid="11277717" border="0" align="left"/> Sabine Gottfreid and me curated this video screening for DUVE Berlin in January 2010. I´m getting so far out one day i won´t come back at all Google maps is not merely the guarentee for a smoothly oriented tourist holiday, but also a preemptive strike against all the flaws and perils of an unpredictable journey, the mooching stranger, the muscle ache, the horrendous taxi bill. Its straightforward connection between A and B is the most obvious example of technologies' safeguarding design approach keeping us caught in the close neighbourhoods of ourselves. Concomitant with arts reckless outlook for the unknown, the sequence of 12 artist videos follows another approach to traveling - a cartography beyond the map, a search for another world to walk through. Composing a chaotic, multi-layered journey, the videos presented try to re-route roads and paths and re-insert fantastic creatures back onto the landscape. Don't get to far out. And, watch your step! including works by: JEN DENIKE, LUCKY DRAGONS, GUIDO VAN DER WERVE,DAVID BLANDY, OLA VASILJEVA, DAVID HORVITZ, JOEL HOLMBERG, ALDO GIANNOTTI & STEFANO GIURIATI, PILVI TAKALA, TERESA ABBOUD & CARLOS PELLO, MICHELLE NAISMITH, DANIEL DEVLIN and ROMAN SIGNER <img src="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 4.png" width="670" height="418" width_o="1440" height_o="900" src_o="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 4_o.png" data-mid="11277731" border="0" align="left"/> Lucky Dragrons - Desert Walker, 2006 <img src="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 6.png" width="670" height="418" width_o="1440" height_o="900" src_o="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 6_o.png" data-mid="11277754" border="0" align="left"/> Ola Vasiljeva - <img src="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 21.png" width="670" height="418" width_o="1440" height_o="900" src_o="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 21_o.png" data-mid="11277767" border="0" align="left"/> Michele Naismith - The captains, 2006. <img src="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 11.png" width="670" height="418" width_o="1440" height_o="900" src_o="http://payload.cargocollective.com/1/4/153402/2253151/Imagen 11_o.png" data-mid="11277794" border="0" align="left"/> Guido van der Werve - Nummer vier: I don’t want to get involved in this, I don’t want to be part of this, talk me out of it (2005). DUVE BERLIN, 2010 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Sabine Gottfreid and me curated this video... http://cargocollective.com/lorenzosandoval/Sketches-for-Building-Up-a-Paradise http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Sketches-for-Building-Up-a-Paradise Thu, 03 Nov 2011 13:25:49 +0000 Lorenzo Sandoval 2248610 FORGOTTEN BAR, GLOUGAUAIR AND ALTES FINANZAMT, 2010/2011 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload.cargocollective.com/1/4/153402/2248610/socialismus.jpg" width="670" height="461" width_o="677" height_o="466" src_o="http://payload.cargocollective.com/1/4/153402/2248610/socialismus_o.jpg" data-mid="11256486" border="0" align="left"/> This project started in 2009 analyses how the holidays in Canarias were considered one the goals of the Wellfare State in the north of Europe. For that, i related the idea of the tourism with the coreographies of different systems of propaganda. Also, i was researching how this places appeared in the popular imaginery in the XIX, before they had been considered as healthy places to go, as exotic spaces where the Science could be developed in botanic, etnography and geology making them appear in the maps. 2010. <img src="http://payload.cargocollective.com/1/4/153402/2248610/cc01.jpg" width="602" height="425" width_o="602" height_o="425" src_o="http://payload.cargocollective.com/1/4/153402/2248610/cc01_o.jpg" data-mid="11255841" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/cc08.jpg" width="425" height="602" width_o="425" height_o="602" src_o="http://payload.cargocollective.com/1/4/153402/2248610/cc08_o.jpg" data-mid="11255845" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/cc10.jpg" width="601" height="425" width_o="601" height_o="425" src_o="http://payload.cargocollective.com/1/4/153402/2248610/cc10_o.jpg" data-mid="11255857" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder01.jpg" width="397" height="567" width_o="397" height_o="567" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder01_o.jpg" data-mid="11255868" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder06.jpg" width="567" height="378" width_o="567" height_o="378" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder06_o.jpg" data-mid="11255877" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder02.jpg" width="378" height="567" width_o="378" height_o="567" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder02_o.jpg" data-mid="11255891" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder06_5.jpg" width="567" height="378" width_o="567" height_o="378" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder06_5_o.jpg" data-mid="11255897" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder03.jpg" width="567" height="406" width_o="567" height_o="406" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder03_o.jpg" data-mid="11255908" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder05.jpg" width="576" height="405" width_o="576" height_o="405" src_o="http://payload.cargocollective.com/1/4/153402/2248610/exoticorder05_o.jpg" data-mid="11255915" border="0" align="left"/> This photomontages were transfered to slides and presented with slideviewers from the same time of the images fo Canarias. <img src="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise33.jpg" width="670" height="446" width_o="1536" height_o="1024" src_o="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise33_o.jpg" data-mid="11255987" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise27.jpg" width="670" height="460" width_o="1380" height_o="948" src_o="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise27_o.jpg" data-mid="11256006" border="0" align="left"/> Other element was a sketches for a Panorama based on the Panorama Mesdag in Holland. The images were taken from Google Street View and found images from Berlin Olympia 1936.<img src="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise24.jpg" width="670" height="446" width_o="1536" height_o="1024" src_o="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise24_o.jpg" data-mid="11256124" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise35.jpg" width="670" height="435" width_o="1536" height_o="999" src_o="http://payload.cargocollective.com/1/4/153402/2248610/buildingupaparadise35_o.jpg" data-mid="11256182" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/4/153402/2248610/psuedoglou18.jpg" width="670" height="446" width_o="1536" height_o="1024" src_o="http://payload.cargocollective.com/1/4/153402/2248610/psuedoglou18_o.jpg" data-mid="11256250" border="0" align="left"/> FORGOTTEN BAR, GLOUGAUAIR AND ALTES FINANZAMT, 2010/2011 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ This project... http://cargocollective.com/lorenzosandoval/Gaussian-Blur-Distribution http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/Gaussian-Blur-Distribution Thu, 03 Nov 2011 12:46:39 +0000 Lorenzo Sandoval 2248472 CONTRIBUTION FOR MOUNTAINISLANDGLACIER, 2011 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload.cargocollective.com/1/4/153402/2248472/generador01.jpg" width="670" height="473" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/4/153402/2248472/generador01_o.jpg" data-mid="11254610" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248472/generador02.jpg" width="670" height="920" width_o="1375" height_o="1890" src_o="http://payload.cargocollective.com/1/4/153402/2248472/generador02_o.jpg" data-mid="11254626" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248472/generador03.jpg" width="670" height="537" width_o="2048" height_o="1642" src_o="http://payload.cargocollective.com/1/4/153402/2248472/generador03_o.jpg" data-mid="11254633" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/153402/2248472/generador04.jpg" width="670" height="920" width_o="1772" height_o="2434" src_o="http://payload.cargocollective.com/1/4/153402/2248472/generador04_o.jpg" data-mid="11254645" border="0" align="left"/> This images are part of my contribution for the book i´m editing together with the team of Correspondence from Eyjafjallajökull. Estas imágenes son parte de mi contribución al libro que estoy editando junto al grupo Correspondencias desde Eyjafjallajökull. CONTRIBUTION FOR MOUNTAINISLANDGLACIER, 2011 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ This images are part of... http://cargocollective.com/lorenzosandoval/A-User-s-Guide-to-the-Millenium http://cargocollective.com/lorenzosandoval/following/lorenzosandoval/A-User-s-Guide-to-the-Millenium Thu, 03 Nov 2011 07:15:36 +0000 Lorenzo Sandoval 2246725 ONGOING ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <img src="http://payload.cargocollective.com/1/4/153402/2246725/users guide.jpeg" width="670" height="723" width_o="1506" height_o="1626" src_o="http://payload.cargocollective.com/1/4/153402/2246725/users guide_o.jpeg" data-mid="11246277" border="0" align="left"/> This is a project devoted to the backstage of artistic and cultural projects: money, precariousness, legal stuff, education, pedagogy, working conditions, intellectual rights, etc. Those issues we usually address when the public event is over and we go for a beer, as if they were not a structural part of what we do (even though we know they are). Coordinated by Regina de Miguel, María Ptqk and Lorenzo Sandoval. More info here. Este proyeto se desarrolla en torno al backstage de los proyectos artísticos y culturales: dinero, precariedad, cuestiones legales, educación, pedagogía, derechos intelectuales, etc. Tratamos los temas que normalmente se hablan cuando el evento público se acaba y vamos a tomar unas cervezas, como si no fuesen una parte estructural de lo que hacemos ( incluso cuando nosotros los sabemos) Coordinado por Regina de Miguel, María Ptqk y Lorenzo Sandoval. Más info aquí. ONGOING ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ This is a project devoted to the backstage of artistic and...