Fernando García Dory; "Las élites se han adueñado del arte";BEA ESPEJO | Publicado el 22/03/2013 |

Campo adentro es uno de los proyectos artísticos más interesantes actualmente en nuestro país. Nació en 2010 como una plataforma de investigación sobre arte, agricultura y medio rural, y se ha formalizado en residencias para artistas, debates y exposiciones como la que ahora llega a Matadero Madrid. Hablamos con el responsable, el artista Fernando García Dory, sobre el campo, la ciudad y la naturaleza. También interior.

Fernando García Dory. Foto: Cristina Rocha

Desde pequeño dibuja compulsivamente. Así empieza la aventura de Fernando García Dory (Madrid, 1978), con la historia de un lápiz. Dice que siempre ha trabajado por instinto y que luego va encontrando las razones y las conexiones. Del dibujo y el collages pasó a hacer instalaciones, que le llevaron a interesarse por modelos más colaborativos del arte, social sculpture, dice, partían de una clara vocación activista, contraria a la autonomía del arte. Por aquél entonces era 1999, y él estudiante de Bellas Artes en la Complutense. Allí surgió su primer proyecto en el que relacionaba arte y plástica social, una cooperativa llamada Bajo el Asfalto está la Huerta. Pronto sus proyectos se expandieron a Ecuador, Holanda, Inglaterra e India, y a exposiciones por medio mundo, entre ellas la última Documenta. Amplió estudios en sociología rural y agroecología, y en 2005 lanzó la Escuela de Pastores de Picos de Europa. Hoy, además, es miembro del Consejo Asesor de la Alianza Mundial de los Pueblos Indígenas Móviles y coordinador de una Comisión de Arte y Medio Rural dentro la Plataforma Rural Estatal, organizaciones que él mismo propulsó.

Su último proyecto, Campo adentro, que inició en 2010, se relaciona directamente con ello. Han sido tres años en los que ha tenido lugar una conferencia internacional, una fase de producción con un programa de residencias en 12 comunidades autónomas con 22 artistas en total y presentaciones y exposiciones como la que hasta el domingo presentan en Matadero Madrid. Representa quizás el final de una etapa y el comienzo para él de investigación de nuevas formas y campos. "Hace poco, hablando con una comisaria, me decía que el proyecto le parecía más cercano al Artists Placement Group - APG de Latham y Steveni en los 70, o a la idea que lleva a Boetti a regentar el One-Hotel donde invita a otros artistas a explorar ese rincón en la periferia que era Kabul", dice.

Campo adentro en Matadero Madrid. Febrero, 2013

Campo a través

El nombre, Campo adentro, remite a un lugar físico, mar adentro, lejos de la costa, un paisaje inestable, y otro psíquico, interior, a los adentros, un territorio lleno, también, de corrientes variables. El proyecto reflexiona sobre la idea de territorio, geopolítica, cultura e identidad en las relaciones entre campo y ciudad en España. Mucho tiene eso que ver eso con que Fernando García Dory haya crecido entre las montañas de Cangas de Onís, en Asturias. "Siento una enorme gratitud y admiración hacia la gente del campo. Hay verdaderos monumentos trabajando allí, de una dignidad y grandeza sin pretensiones, como árboles viejos", dice.

El suyo es un perfil de artista singular, algo atípico. Trabaja sin galería, el capital que más valora es el simbólico y entre sus últimas piezas hay una pequeña producción de quesos artesanales. Aunque su relación con el lácteo viene de lejos. En 2010, como cierre de una Conferencia Internacional en el Museo Reina Sofía, organizó Agri-Cultura 1, un mercado de quesos en la Cuesta del Moyano, en intercambio con los libreros. Hace menos, el pasado octubre y en el marco de ForoSur, en Cáceres, hizo los llevó hasta degustación "organoléptica-política", decía. "Me defino como artista aunque lo entiendo como un work in progress. Lo que hago es plantear ideas, encuentros, posibles formas de entender las cosas, de mirarlas. Hasta ahora, siguiendo una idea de educación estética expandida, me ha tocado ser 'hombre de acción'. En el fondo, no soy más que un 'ciudadano activo político', en el sentido de implicarse con la polis. Hemos perdido la costumbre del esfuerzo que eso conlleva. Por un lado, me siento responsable con el legado que han dejado otros artistas que han creído en el desarrollo humano antes que nosotros. Por otro, trabajo también con la contemplación y la experimentación formal. Ese lado subjetivo de la práctica artística complementa el más objetivo y subversivo. De hecho, el arte se da en la combinación de ambos. Eso es lo grande del arte, que es una forma de vida, de toma de conciencia. Es una herramienta múltiple, un cobijo al que arrimarse. También algo divertido, placentero", añade.

El colectivo de artistas Espada y Monleón. Residencia en Puente Pumar. Cantabria.

-¿Con qué objetivos nació en 2010 Campo adentro?
-El objetivo era abrir un ámbito de trabajo para el arte en nuestro país, analizar las propuestas que se vienen lanzando desde el movimiento campesino y ver el posible papel del arte en procesos de cambios sociales. La idea ha sido crear una estructura política y social, una plataforma de colaboración entre el gobierno estatal, los agentes e instituciones artísticas y el movimiento social rural. Plantear un debate sobre el futuro del medio rural y la idea que de él se tiene en el mundo del arte.

-Y, ¿qué es lo rural?
-Es un modo de organización social y de uso de recursos. El campo es la causa de la ciudad, aunque no son lugares opuesto. Ni el campo es lo bueno ni la ciudad lo malo. Lo que ocurre es que tácticamente el campo puede ser una vía, más o menos simbólica, de otras cosas. Significa situarse en un lugar donde las cosas pueden funcionar de otro modo. El control de los recursos comunes, la alimentación o la tierra son vitales en la actual fase de expansión del capitalismo.

-Habla de lugares y de ritmos. ¿Qué rol juega la idea de nomadismo y movilidad?
-Por un lado, remite a no acomodarse a nada, a cuestionar como base del arte. Por otro, me permite ser consciente del peligro de asumir la identidad neo-nómada que se nos ofrece como un súmmum del modelo capitalista: sin generar vínculos, en constante flujo bajo nuevos estímulos, el global player o nómada rico.

-Tres años después de poner en marcha Campo adentro, ¿cuáles son las conclusiones?
-Hemos visto que los agentes rurales todavía tienen que entender mejor los mecanismos culturales y apropiarse de ellos, y eso lleva tiempo y trabajo. La administración es incapaz de generar políticas de un mínimo compromiso, y el mundo del arte está más blindado de lo que podría pensarse. Aunque es cierto que va abriéndose paso a una sensibilidad que juega a favor del cambio, como hemos visto en la última Documenta.

Cultivos y recolectas

Fernando García Dory habla de los múltiples actores que componen el proyecto, desde el Ministerios de Cultura, Medioambiente y Agricultura a comisarios como Charles Esche, Chus Martínez o Vicente Todolí, y artistas como Carmen Cañibano y su proyecto Tiempos de trabajo en Prado, Zamora; Bárbara Fluxá, Fernando Martín y José Bernal y su trabajo en La Vera, Cáceres; los recuerdos de Patricia Esquivias en las tierras toledanas; la intervención en Malpartida de Mario García Torres; el mercado propuesto por Can Altay en Carrícola, Valencia... Imposible citarlos a todos.

Entre líneas, Campo adentro habla de relaciones humanas y enlaces afectivos. "La esencia de la agricultura es el cultivo, el cuidado", añade García Dory. La formalización del proyecto va más allá del arte relacional, tan significativo en los 90. Se trata, más bien, de un "arte relacional antagónico": "Es un término de Claire Bishop y viene a decir que, más allá de un feliz momento de empatía y colaboración, los vínculos entre artista y público deben abrir espacios de crítica y transformación. Es lo que pretendía cuando en LABoral construí, con las maderas de una instalación de Rirkrit Tiravanija, paradigma del arte relacional, una réplica de la habitación donde los pastores celebran consejo y donde se llevó a cabo una asamblea de la Federación Estatal de Pastores. El arte toma entonces todo el sentido.

-¿Cómo puede el arte tener una implicación social real?
-Sé que el arte tiene una implicación social real. Lo que no sé del todo es cómo puede llegar a ser efectiva. Ando trasteando con posibles formas. Lo que está claro es que hacer un arte impotente o no funcional es empobrecedor, necio y suicida.

El artista Antonio Ballester. Residencia en La Gomera. Canarias

-¿Cree que el arte es elitista?
-Creo más bien que las élites se han apropiado del arte. No hay una forma de universalizar el arte sin hacerlo del conocimiento, la educación. Ambas cosas son todavía hoy, en buena medida, un privilegio de clase...

-Háblanos de tus proyectos futuros. ¿En qué nuevas vías de investigación estás trabajando ahora?
-Campo adentro pasa a ser posible engranaje de formación y asentamiento rural, y comercialización. Arranca ahora con un Grupo de Investigación "Ecologías del sistema del arte, nuevos territorio y paisajes en cultura contemporánea" que se desarrolla en Matadero Madrid y otros lugares, un terreno experimental en la ciudad llamado Nuevo Jardín de Dalias. Me gusta la idea de un proyecto acerca de un movimiento u organización, ejercicios de curvaturas hacia un tiempo y espacio de colaboración y ensayos de nuevos modelos de arte. Extender esta metodología en otros contextos como Escandinavia, Francia, Inglaterra y Rusia. Allí me llamaron para intervenir en un antiguo kolvjós de 900, que ahora experimenta sobre New Rural Arts, y quiero plantear algo que combina producción teatral, música y apicultura. Dentro de la idea de incubar proyectos mínimos o aparatos para-institucionales, sostenibles, útiles, que siguen su luego su curso, catalizar de otro modo, ando con la creación de una Escuela Elemental de Artesanías en Mallorca, como forma de retomar otras formas de hacer y conocer, y de regeneración económica local; Y volver a una esfera más íntima o propia: un libro de dibujos para niños , y unas esculturas a modo de artefactos emocionales. Pensar en la representación como ámbito de transformación. Y las formas de habitar el instante y los espacios y acuerdos sobre su uso: de una coreografía, a un rito o escenificaciones, la actuación como propuesta hacia el otro, como vínculo posible. Me parece necesario el paso de una confrontación más frontal a formas más sutiles y ambiguas, de cuestionar y plantear alternativas. Y en la medida de lo posible, viajar poco, leer y escribir sobre unas valoraciones de años pasados.

INLAND Station. 15.02.2013. Foto: Lorena Fernández

 

Desde El Cultural.

The Poetry of Archiving, Kenneth Goldsmith; 2013 by Coco Castro.

The Poetry of Archiving, Kenneth Goldsmith from coco castro on Vimeo.

Cartografías del deseo. Ciudad, sexualidad y tecnología

El Anti-Edipo lo escribimos a dúo. Como cada uno de nosotros era varios, en total ya éramos muchos. Aquí hemos utilizado todo lo que nos unía, desde lo más próximo a lo más lejano (…) Ya no somos nosotros mismos. Cada uno reconocerá los suyos. Nos han ayudado, aspirado, multiplicado.
Deleuze y Guattari - Mil Mesetas.

583 cm de deseo.

Cartografías del Deseo es una plataforma de investigación sobre ciudad, sexualidad y tecnología en continuo estado de cambio. En la presente edición os mostramos uno de sus múltiples estados cristalizados y dos recorridos entrelazados que ayudan a transparentizar el proceso de un proyecto de investigación.
Esta plataforma digital está formada por mil mesetas que sientan las bases para la investigación de dos temas convergentes, divergentes y emergentes del panorama arquitectónico contemporáneo: la intimidad y la privacidad.
Ambos temas pertenecen a nuestros intereses y experiencias comunes. Aunque puntualmente se separan para dar lugar a investigaciones individiuales, siempre termina por encontrarse y entrelazarse de nuevo en su camino.







Ambos temas pertenecen a nuestros intereses y experiencias comunes. Aunque puntualmente se separan para dar lugar a investigaciones individiuales, siempre termina por encontrarse y entrelazarse de nuevo en su camino.

Cartografías del Deseo es una plataforma de investigación sobre ciudad, sexualidad y tecnología en continuo estado de cambio. En la presente edición os mostramos uno de sus múltiples estados cristalizados y dos recorridos entrelazados que ayudan a transparentizar el proceso de un proyecto de investigación.

Miguel Ortega Rodriguez (1981) y Ana Belen Lopez Plazas (1981) son arquitectos por la ETSAG y MArch. de Proyectos Arquitectónicos Avanzados por la ETSAM (2012). Miguel reside en Berlín, Ana entre Madrid y Murcia. Desde 2011 Ana y Miguel conviven en Cartografías del Deseo.

If It Doesn't Exist on the Internet, It Doesn't Exist; Kenneth Goldsmith, 2005

If It Doesn't Exist on the Internet, It Doesn't Exist Kenneth Goldsmith Presented at Elective Affinities Conference, University of Pennsylvania, September 27, 2005 The following statements are directed at academic production and should be considered in that context. This does not include painters, potters, printmakers, book artists or metal workers. Yet. I'm going to start right out by saying it: If it doesn't exist on the internet, it doesn't exist. I used to say this hyperbolically but as time has gone on, it's proved to be a truism, perhaps the paradigmatic truism of our times. You might deny this until you realize that much of your self-worth is derived from Googling yourself; if you don't exist on the internet, you don't exist. You get frustrated as I do when you are researching in front of your computer and what you're looking for doesn't show up on Google. Perhaps we are at the root of the problem. It is our obligation as educators and intellectuals to make sure that the bulk of our production ends up there, preferably with free and unfettered access to all. This means not making materials available only for those affiliated with our institution, our students, or our colleagues, but giving free and unfettered access for all. Doing so means posting our works on the world wide web so that anyone, anywhere, at any time can have access to them. In this way, we will ensure that our work exists. Problems of Access Not everyone is able to have access to intellectual materials in the way that we do. Only a fraction of web users have access to proprietary subscription services like LexusNexis, ProQuest, or Factiva. Public libraries, which have limited or no access to these subscription services, are understaffed and under-funded. Most rural libraries are in a sorry state. Urban libraries, too, are not faring much better. In New York City where I live, the local Barnes & Noble is often used instead of our pitiful public libraries. In the Barnes & Nobles, consumers are allowed to use books for research purposes without having to buy them. A typical user will be slung into a soft chair next to a stack of dog-eared books, sipping a cup of coffee, taking notes on a laptop. It's a nice idea, but we all know the market-driven limitations of what Barnes & Noble stocks. Most likely what you've written is not going to be showing up in a Barnes & Noble any time soon. I run UbuWeb, a large site dedicated to the free distribution of generally hard-to-find and out-of-print avant-garde materials. In May of 2000, I received the following short email at UbuWeb from someone named Meredith: i really enjoyed your site. it made me think about different cultures other than the ones i experience daily living in a small texas town. I can't imagine that much of UbuWeb's materials are available in Meredith's local library. Chances are that they don't have much, if any, sound poetry, and I'll bet that their concrete poetry section is lacking as well. Odds are that the local Barnes & Noble isn't chockfull of this stuff either. If Meredith were ambitious, she might try searching the web and buying these items online. But then she'd have to fork out $125 to buy a used copy of Emmett Williams' An Anthology of Concrete Poetry or $90 to purchase the Revue OU box set that compiles the entire run of the legendary French sound poetry magazine from the 1960s. Those two items comprise a miniscule amount of what's available to Meredith for free on UbuWeb, right in the comfort of her own living room. Meredith's note succinctly summed up what I had wished to achieve with UbuWeb: the creation of a distribution center for out of print, hard-to-find, small run, obscure materials, available at no cost from any point on the globe. UbuWeb embraces the distributive possibilities inherent in the web's original technologies: call it radical forms of distribution. And because the original materials that UbuWeb hosts never really made money in the first place -- coupled with the fact that as sound, video and textual works, they easily translate to the web environment -- we can indulge in such high-minded utopian ideals. Certainly the latest bestseller or how-to book cannot engage in such radical distribution: the financial stakes are too high. But we are in a unique position -- I'd call it a privileged position -- to be able to give our work away, ensuring that it exists. When was the last time you received a fat royalty check for an academic book? You get my point. And with the advent and subsequent growth of the web, we have our perfect distribution mechanism. I'm not saying don't publish on paper. By all means do, but make sure that your work is available in a non-proprietary digital form as well. For most of us, the book as physical object has bestowed credibility upon its author. Again, I can use myself as an example: I love books as much as anyone and in my CV, I'll cite the number of paper books I have published, and give only a passing glance at my web publications. I see myself as being on the cusp of a generation for whom books will certainly not mean what they have meant for us; ultimately I believe that books will merely act as a supplement to one's primary online experience. Suffice it to say that books aren't disappearing any time soon. Until an electronic reader is made available that approximates the experience of reading a book -- a technology that took 500 years to be perfected -- books remain necessary vehicles. Can you imagine taking a laptop to the beach to read an e-book? Not yet. But it will happen. So for the time being, our books need to have an online counterpart which extends, updates or in some way acts as a corollary agent to the paper edition. Institutional Leverage is on Your Side What do publishing houses and magazines do for their authors? In our field, they generally don't make them rich; instead, they create a context, a framework for the work to exist. The benefits of academic publication are almost always oblique: credibility, speaking engagements, job credentials, etc. With the web, we can extend the benefits of book publishing to enhance both our careers and the institution with which we are affiliated. My colleagues Charles Bernstein and Al Filreis are doing just that with PennSound, an enormous, open-access poetry sound archive. Because of its affiliation with the University of Pennsylvania, the site immediately became established as an authoritative distribution center. Charles and Al have found that it works both ways: Penn lends credibility to PennSound and PennSound brings a new international audience to Penn. It's a win-win situation. An independent site can establish itself in similar ways, but it's much harder and can take a much longer time. Institutional leverage is on your side. Oblique but Substantial Benefits And while we're on the subject of winning, let's look at some of the benefits of making your work freely accessible. The preeminent literary critic Marjorie Perloff's author page at the University of Buffalo's Electronic Poetry Center is stacked years' worth with years her work. Each year, the content list grows longer. Some of it has been published before, other essays have appeared in small journals, and much of it appears exclusively on her page. Marjorie continues to publish books -- often one a year -- but she tells me that most of her speaking engagements come as solicitations from her web page. Let's face it, books that traffic in the more arcane aspects of academia are expensive and often hard to get in many parts of the world. But almost everyone has access to the web (and if not now, they soon will). From this stems numerous opportunities. I, too, have had an experience similar to Marjorie's. Last summer I was invited on a reading tour of Scandinavia. I read to large and enthusiastic audiences in Copenhagen, Stockholm, and Helsinki and met dozens of fans of my work. Much to my surprise, no one had ever seen any of the eight books I had published over the past decade. All of these books had been published by tiny independent publishing houses and were available for purchase by an equally tiny distributor. The European context for my work was what was on the internet. I like getting these invitations, so I make sure to post everything I publish on paper on the internet. While I have never received one cent from my experimental writing, due to the web, I have traveled the world extensively with all expenses paid, garnered honorariums and, most importantly, I've connected with an interested readership -- a peer group, really -- in an admittedly obscure endeavor. Without the internet, a writer in my position would never exist in quite the same way. The Speed of Academic Blogging The economic implications of web publishing are obvious by now, as is the speed with which the transfer and exchange of ideas is happening. Over the past few years, this tendency has increased with blogging. Even such established media outlets as The New York Times are requiring their reporters to blog constantly during the day; the paper that arrives on your doorstep each morning is hopelessly out of date; it's truly yesterday's news. I'm not suggesting that you all become bloggers, but it's good to think about how long-held academic publishing practices can be questioned in this strikingly new media environment in which we are immersed. By the time your book is published, chances are that it might suffer a similar fate -- or worse -- to this morning's paper edition of The New York Times. I'm not saying that the field of, say, Romantic literature of the 19th Century moves at the same pace and with the same urgency as the escalating cost of gasoline, but I do think that we can learn something -- even if glancing -- from the blogging paradigm. Like publishing or academic affiliation, blogging creates another type of community: peer-based consensus garners credibility. Blogging opens up instantaneous discourse with a group of like-minded thinkers. We all know of colleagues who post chapters-in-progress of their latest books on their blogs. Older proprietary ways of thinking would condemn this practice with the fear that your ideas would be swiped, brought quickly to the marketplace, rendering your efforts useless. On the contrary, what happens is the opposite. Like any twelve-step program alumnus knows: words are deeds. By showing your commitment to these ideas publicly, they are acknowledged by a given community as being yours. If it's available to the whole world, then anyone trying to swipe your ideas will be outed by the public knowledge that you're the one who has been working on this subject. Academic bloggers find that their community of readers often act as fact-checkers or engage the blogger in instantaneous debate over specific points before the book reaches the concretized state of print. Instant feedback on your work: does it get any better than that? The poet Ron Silliman, whose blog has become somewhat of an anchor for the poetics community, recently marveled at what's happened to him since in the year since his blog's launch. I'll excerpt from a long list: I've had to become more rigorous in my reading, to actually think a little about what to read next & why My mental map of contemporary poetry has changed profoundly I've had to acknowledge the presence of an entirely new generation of poets & recognize that they really are the "poets of today," however you might care to define that. I've met, online & sometimes later in person, a huge number of interesting new people & gotten to know several folks I'd already met quite a bit better My correspondence has gone up dramatically So has the arrival of books in the mail - twenty books in one week is not uncommon. I've been able to spread the word about some poetry I care about a lot. My own poetry is being solicited at a much greater rate than I can possibly manage. I'm being invited to read more often - so much so, in fact, that I've learned to say No for the first time in my life. I've turned down trips to Oregon, Finland & several places in between as a result. Writing here has pushed my own poetry forward in ways I would not have expected & which I don't think (yet) I can fully articulate. In yet another sense, for Ron and for millions of others, if it doesn't exist on a blog, it doesn't exist -- so much so that Google has just launched it's own Blog Search, which indexes blog listings as they happen. Yet one more way to check your existence, minute-to-minute. CDs are Dead I will now make another claim you are sure to find outrageous: CDs are dead. As a matter of fact, all static, non-networked media is dead. This includes CDs and DVDs, which are quickly going the way of the zip drive. There used to be a claim that a non-networked computer -- a stand-alone workstation -- was really not a computer. The thinking -- correct in my opinion -- went: if it's not networked, it doesn't exist; if it's not able to be shared, it doesn't exist. Older media needs to be digitized in order to exist. Again, I'll use myself as a case in point. Nobody loved rummaging through used record stores like me. I have over 10,000 LPs to show for it and an equal number of CDs. For thirty-five years, most of my spare time was spent hunting down discs. But these days, I rarely open a gatefold of my beloved LPs and even more rarely do I crack a jewel case. Instead, I turn to my hard drive which is stacked with many more MP3s than my physical space can hold. And the thrill of the hunt remains: everything on my drive was procured through web-browsing or file-sharing. And sharing is the operative word. I feel that my LPs are now only truly valuable (read: socially) when they are digitally transferred and shared. Otherwise they sit on my shelf, a slab of vinyl for the enjoyment of me and my three fetishist, nostalgic friends. My reel-to-reel and cassette tapes suffer a worse fate as the they literally degrade with each passing day. Businesses that are flourishing today like Netflix are finished; they use the web as an interface for distributing singular copies of material objects, but in failing to distribute the actual intellectual materials on the web, they are already doomed. See how different iTunes and its success is. Because they distribute digital content on the web, they are succeeding wildly. Obviously, given time and sufficient bandwidth, Netfilx and their competitors will migrate to the web. Again, iTunes knows that if it doesn't exist on the internet, it doesn't exist. Like iTunes the BBC knows better. Their interactive Media Player will use peer-to-peer technology to deliver hours of TV and radio content completely legally and free of charge. But the big hitch is their restriction on the content which prevents it being played beyond seven days from its original broadcast date. Major media concerns have an interest in digital materials "expiring" after a certain date. With iTunes proprietary AAC format, there is a limit to how many times a file can be copied before it expires. Fair enough. Commercial is commercial. However, what we're interested in is unrestricted access to non-commercial, educational materials. So, in this instance by exist, I mean something exists when it can be shared, altered and re-circulated. Proprietary materials that do not live within this eco-system -- even when compromised by time-stamped "expiration" -- are doomed to wither into oblivion. The New Radicalism In concluding, I'm going to drop a real secret on you. Used to be that if you wanted to be subversive and radical, you'd publish on the web, bypassing all those arcane publishing structures at no cost. Everyone would know about your work at lightening speed; you'd be established and garner credibility in a flash, with an adoring worldwide readership. Shhhh... the new radicalism is paper. Right. Publish it on a printed page and no one will ever know about it. It's the perfect vehicle for terrorists, plagiarists, and for subversive thoughts in general. In closing, if you don't want it to exist -- and there are many reasons to want to keep things private -- keep it off the web. Back to Kenneth Goldsmith's Author Page | Back to EPC

Reading-She, Jeleton, 2013, en Club-Script y Arteleku.

Jeleton en Club-Script.

Presentación de Jeleton: Reading-She, dentro de las jornadas "Producciones de arte feminista: procesos de conocimiento e interrelaciones generacionales" que tuvieron lugar en Arteleku del 22 al 24 de julio de 2013.

Archive as Strategy: Conversations about Self-historicisation Across the East’; Curated by Lina Džuverović

‘Archive as Strategy: Conversations about Self-historicisation Across the East’ is an on-going research strand which forms a core part of the Calvert 22 Foundation programme. Envisaged as a two year-long series of events, presentations and meetings, Archive as Strategy is an open-ended and discursive platform which encourages participants to play an active role in the development of the series.
As its point of departure, this series addresses the growing phenomenon of self-historicisation – a social trend which has developed throughout Eastern Europe over the last three decades. Since the 1980s, communities of artists and intellectuals across the East have faced parallel states of precarity which profoundly affected the ability of ‘official’ art institutions to perform the traditional duties of supporting, archiving, historicising and providing a critical framework for local artistic outputs. As a result, artists have increasingly taken it upon themselves to perform the role of a historian, archivist and curator, in the hopes of historicising their own artistic production as well as that of their peers. The Archive as Strategy series aims to connect these histories across the region by identifying and examining several key self-archiving initiatives and by mapping these activities in relation to significant topics in Calvert 22’s current exhibition season.

This series takes place at regular intervals, where events are primarily held at the Calvert 22 Foundation. Each event focuses on one particular self-archiving project and is explored via screenings, curator/artist presentations, workshops, and/or discussions. Many past Archive as Strategy events have been documented (photography and video), and are available for view on www.archiveasstrategy.org. The materials, conversations and documents collected during the course of the Archive as Strategy series will eventually be developed into a reader published by Calvert 22.
The Archive as Strategy series is supported by a growing interest for the research and study of artistic practices in the East, and is produced in cooperation with the History of Art Department at University College London (UCL).

Check the list of different events to see the development of the project.
Bring from the very interesting Marginalia, a project of Aimar Arriola.