Roaming Estratègia de la precarietat
Centre Cultural de Ripollet (Rambla de Sant Jordi, 2-4)
With the support of the Generalitat de Catalunya. Departament de Cultura.
The concept of time generates its own images: orange peel, cake, a snail's shell, palo santo, the factory floor… which suggest to us labyrinthine complexities, the cumulative density of layers and the superposition of the palimpsest. Francesc Abad's work is mostly structured around a reflection upon time from the absolute present (territory, ideologies, conflict), in order to project towards the past conceived as a construction of history and memory (W. Benjamin), and towards a future which must be considered and formulated under the shadow of utopia (E. Bloch).
This discourse confronts a dual contingency, that which is imposed by the pace of time and that which is generated by the dominant powers (capital, ideologies). Thus, a strategy of precariousness, along the lines of a samizdat, must be developed, from which resistance and confrontation may become possible. Strategy of Precariousness is also present as an epilogue which gathers together Francesc Abad's recent works, and as an archive integrated by the diversity of the fragments which shape personal and collective experience.
Project curated by Miquel Bardagil and Magdala Perpinyà.
CENTRE CULTURAL DE RIPOLLET
Rambla de Sant Jordi, 2-4. 08291 Ripollet · Tel 93 504 60 25
Working days and Saturday, de 10 a 13h y de 18 a 21h. Domingo y festivos, de 12 a 14h
[see the invitation]
Without landscape, Interactive space
For the exhibition No Landscape which will take place in ACVic Centre d’Arts Contemporànies, we are putting out a call for pictures of the Pantà de Sau, during different times in its history, in the hope of finding willing collaborators. The images will form part of a visual archive to complement the exhibition, and will be used in educational activities.
The exhibition will showcase projects by Arturo / fito Rodríguez Bornaetxea, Igor Rezola and Mawatres / Juan Pablo Ordúñez.
Mawatres, Juan Pablo Ordúñez's project, unfolds around the Pantà de Sau. For this reason, the exhibition will offer visitors the chance to collaborate by providing images which illustrate the history of the landscape; droughts, sporting and cultural activities which have occurred, etc.
You can send images directly to ACVic (Sant Francesc, 1 Vic), or upload in following form:
[access to the form]
Thank you for your participation!
10.10.2014 – 10.01.2015
Opening, Friday 10th October at 7.30 pm
Landscape is a transversal concept linking people, places and moments. It is natural and cultural, it is individual and social, it changes over time and is subject to change. It represents man's cumulative work, and of surplus capital. It is a source of wealth and is therefore subject to speculation.
The natural landscape is socialised, the social landscape is mediated and industrial landscape is delocalised. This exhibition reaffirms us. Artists did not invent the landscape, but they are agents which contribute to their intervention, reproduction, understanding and interpretation. Although the depicted landscape is the result of extremely subjective delirium, it always will be a production that refers to a historical moment, in a social conjunction and cultural construct. What the artist invents is the need for a spectator of landscape, but the spectator is an emancipated subject who can reinterpret, rethink and take control of the suggested landscape once more. The artist's gaze does not have to coincide with the spectator's.
Without landscape is not a rejection of the landscape, it is a claim that every landscape is the result of human action, that it is part of a process, and that every process involves some kind of disappearance, the landscape resulting from which is a new redefined space.
Arturo / Fito Rodriguez Bornaetxea presented a work created from images of groups of people at meetings, on demonstrations, at assemblies, previously published in the media, and on which he hides the text on banners and posters, eliminating all kinds of traces which could identify or reference the event. The collage of images lacking identification causes standardisation. 'Concealment is a system of visual acuity, an incentive to criticise the gaze itself. We are facing process of organised prejudice evacuation, and of visual tools for media hygiene and disinfection.
Igor Rezola acts directly on the walls which form part of the urban landscape. Grafitti text or images on their surfaces, documenting the process. The resulting images are a testament to the action, and through them meaning is constructed. A meaning which incorporates the chosen location, the artist's interference, and the transformed space. Aesthetic interventions with political reminiscences, covering fragments of the urban landscape. 'At street walls, behind the walls of the factory and industrial estates, what landscape can we expect lf not insubordination? -
Mawatres, Juan Pablo Orduñez presented a paper on San Romà de Sau, a landscape which was taken over in order to generate a new production space. Now it is a swamp which, depending on water levels, causes the appearance and disappearance of whatever trace of inhabited memory. The landscape is not simply "mapped" another time, but redefines its own limits, questions pre-established visions and, above all, involves new agents-.
[view poster Arturo / fito Rodríguez Bornaetxea] - [view poster Igor Rezola] - [view poster Mawatres, Juan Pablo Orduñez]
TRANSLATIONS OF THE POSTERS
From the participatory Landscape to the abscence of landscape
It is said that a vocation is composed of two stages: vision and mission (visio and misio) (Gomá Lanzón, 2014). It is said that ordinary mortals' view of the world is fragmentary, chaotic, and that the mass cannot put it all together. A fragmented reading of certain parts, leads us to believe that we can read the whole, which ends up as a mirage, just like the belief that zapping from channel to channel is the same as watching all the programmes, or that surfing the internet, letting our curiosity take us to a website or a video, is the same as dominating the virtual universe. It is also said that there are some lucky people who have a complete view of the map, because with their imagination, they can fill in the voids which others cannot see. They have the clairvoyant ability to see fragments of the whole (vision), which leads them to create objects (works of art), "without utilitarian function" and make them available to themselves and to others (misio) .
For this reason it is said that art is a vocation. Visionary artists, through artistic practice, help to complete the general vision of the map, and make our passage through life more bearable and more pleasant.
So many things are said ... In the political, sociological landscape, even in the physical landscape surrounding us, there are many living visionaries, leading figures of neo-capitalism, who, contrary to what might seem, do not belong to the realm of art. Maybe that is why they entertain the fantasy belief in viewing the entire map, a map in which their interests, to monopolise the common wealth through the exploitation of common resources, become law. Overuse leads to exhaustion and to waking up from the dream, the vision of the map vanishes leaving us without a landscape. Only the fixed pieces which support power cliques are maintained, while the mass falls into an undignified, precarious existence. Meanwhile Mao Zedong's quote cited by Žižek, "Everything under heaven is in total chaos, the situation is excellent", makes unexpected sense.
Where are the artists when nobody needs them?
In spite of the evidence, vision remains dogmatised, and some believe in the misio of continuing to produce objects without useful function out of a conviction that support must be given to vocational emotions. These believers are, as Valcárcel Medina said, where others are not. They live within a landscape located in the now ancient modernity. As Castro Flórez noted (2010 p. 144) "Art accomplishes sometimes the exemplification of silliness, completing a step, even acrobatic from the pseudo-transgressive to absolute frivolity".
In "a time when culture is seen as essentially useless, something which can be "cutback "or thrown to the skinny arms of philanthropy" (Castro Flórez, 2010, p. 146), others complicate their existence in search of a participatory landscape. Without visionary spirit, but decidedly observational, they propose a reflection on the state of the map. Reborn out of the ashes of fanzine slogans from the no future era, out of the rebellious teenage attitude of graffiti vandalism, later instructed in the domesticated driftings of street art, they have come to the conclusion, like Tristan Tzara, that there is a great amount of destructive work to be done. Out of the deconstruction of symbolism, they propose a critical map, from the perspective of Rancière "art cannot do anything else other than knowing and wishing, while beauty cannot be conceived in any other way, than that which does not end up in knowledge or wishing."
- PROJECT BY ARTURO / FITO RODRÍGUEZ BORNAETXEA
Without photojournalistic rhetoric, without the epic moment of the photographer taking the shot, this project constitutes an instinctive practice of archiving and an exercise in assimilation. This means appropriating the image, rescuing it to reinsert in a time "liberated" from the present day.
The absence of data on what unites the individuals in these images brings people to the forefront of our attention: their faces, their features, their intentions. We seek connections, imagine what they want, claim or demand, but above all we see them where the public arena turns into the political. It is, in effect, a portrait of a crowd, but there is no anonymity, indeed quite the contrary. This crowd, deprived of all ssignificance, acquires a radical presence because each and every face speaks to us. They are, in reality, themselves, because now they are the image of their struggle. This means, above and beyond the texts of their claim, a group comprising humans and each of their universes. The image deals with bodies, friction, screaming ...
Covering, not censoring. Making visible through concealment. Not prohibiting speech, but instead prohibiting not listening, not seeing, prohibiting the apathy with which conflicts are viewed. The exhausted viewer's gaze needs precise homeopathies. Concealment is a system of visual acuity, an incentive to criticise the gaze itself. We are facing an organised prejudice evacuation process, visual tools for media hygiene and disinfection. So the banners are covered, so they can be seen better.
Art produces "other extensions of seeing." Images of social unrest function as the tapestry of a troubled world, but the forms produced by the cover-up process, the black stains, also speak. These adapt to the banner like one more phrase, become new logos, new images which enter into and exit from discourse. These stains have achieved a perturbing clarity. They came to adapt themselves to the shapes of placards and headlines in press photos, but as soon as you relax on the visual journey, they seek autonomy and a place within the social landscape. Nothing can be done about this. The "censoring" role is the very quality which liberates it.
Time has amalgamated in this gathering of altered photographs. Images of forgotten conflicts overlap with memories of people, demonstrations, stories in permanent crisis. Now there is only one time, our own, which seems to claim us. Now there is only one way to say "now": "No landscape.
- PROJECT BY IGOR REZOLA
On the walls of the street, behind the walls of the factory, in the industrial estates, what landscape should we expect if not the landscape of insubordination?
The search for an industrial landscape and traces of their activity is part of Igor Rezola's strategy to cause political-aesthetic friction. The echo of that friction ends up as the mass production of its meaning (there are images which can almost be heard as a chirp, like a siren, like an alarm).
This strategy of approaching issues such as "time" and "work" does not fall into the perverse aestheticism of the "post-industrial", but raises the category of "landscape" to conflict, as a confrontation against the apathy of cultural production.
Igor's video actions and photographic series are always developed in public space, and deal profoundly with the rhetorical traps of work, and those ideological strategies which maintain them as a time bomb in the centre of the economic system. The tremendous paradox between hatred of work and the all-consuming battle to stay in work, even under conditions of genuine precariety, accounts for a social landscape turned into a fighting space.
“White deeds" and "black deeds" are interventions in which painting takes over the street due to the illegal nature of practising it in public space. Like a boomerang, recording these images brings us back to a tense landscape which blends the tangible with political circumstance, without any possibility of separating the the two elements.
The economy of means, the always orthogonal frame, the raw and desolate picture, attracts the gaze, only to undergo the expressive sparking of an action. A quick and precise action, because there is always street surveillance.
A wall demands the same attention as a landscape. A grafitti is half its written message, and the other half that which is erased by its letters. A cloud of smoke is suddenly an explosion of meaning among the silence programmed in the working hours (in those empty and dull spaces where the murmur of work routines can be heard). A small gesture takes on meaning when time and space are used properly; the frame and the unframed, when black and white are used as primary, secondary and tertiary colors to compose a mural without scenery.
- PROJECT BY MAWATRES. JUAN PABLO ORDÚÑEZ
Landscape is a construct, a concept which lets us interpret the cultural and aesthetic qualities of a given territory or place. Therefore, landscape is not something which has always existed, it is a phenomenon which does not exist without an observer, but mostly it is an invention of art itself.
An intervention occupies a space, maybe a landscape? in order to modify or change its meaning. If artistic intervention has a critical sense, a material or conceptual reproduction of the subject of intervention must exist. The landscape is there to ensure a subjective view; intervention, to turn landscape around.
Sant Romá de Sau's landscape was intervened upon, and painfully turned around by a regime more concerned with controlling the forces of production than for the people's lives. Now, Mawa not only "maps" the landscape a second time, but also redefines its limits, questions preset visions and above all, brings new agents into involvement.
His research is not definitive, but is based on something as honest and as difficult as the wish to make intuition into a method. There is no outcome except a collection of images, voices and sounds woven in different ways, and presented as a complex web of feelings, knowledge and suggestions.
It is not a documentary, though there is a document. There is a practical ability which displays for us the identification between what is said and how it is said, while safeguarding its complexity. The author proposes a form of knowledge which is foreign to styles and rules. And this is where we find ourselves challenged. There is no spectator, only an accomplice; the possibility of seeing without "learning to see" never arises.
"No landscape" is a landscape that we must "learn to see".
Sant Romá de Sau. Video. 4:00 min.
Flying over the place aboard memory. Travelling back in time with the subjective map of narration. Heading towards the vanishing point, to wade across with the compass of experience. The flood could not stifle all voices.
The day opens up, we feel the water's surface like a sheet made of whispers. In front, the mountains, gave up making echoes long ago.
The route unfolds across the map as we approach the designated place and see the carved stone at the base of the tower. Then, suddenly, time spins, changes course, memories are synchronized and the horizon opens out.
What does a bell underwater sound like?
The concept of landscape allows us to interpret the cultural and aesthetic qualities of a given territory or place. In its definitions, "the amount of land which may be seen from a given place", or "the portion of land considered from its artistic aspect", the combined action of its two constituent aspects may be encountered: on the one hand, the subjective view, and on the other, the specific and meaningful consideration of this subjectivity. Therefore, landscape is not something that has always existed, is a phenomenon which does not exist without an observer, but mostly it is an invention of art itself.
Resorting to landscape as a basis for this exhibition proposal may seem forced, but it is the quickest way to explain something which has arisen from the relationship between our works. Because, for some reason, we have seen in them a kind of unexpected aestheticism. This is something which has emerged unintentionally, and which has shaken out of our project, without us knowing quite what to do with it, since there is a kind of methodical precaution against such results or such formalisations which end up being so nice due to their “artistic” nature. A whole career spent fleeing from the identification between art and beauty, and now we find ourselves under pressure of circumstances just when we would rather speak of politics ... "Social Landscaping", "intervention in nature" and "intervention in the urban landscape" ...; suddenly the consistency of all these categories crumbled in front of us and shaped a new landscape. And so on.
How to take control of this situation? How to short-circuit it to find a strong theme for this display? The intervention occupies a space in order to modify or change its meaning. If artistic intervention has any critical sense, a material or conceptual re-production must exist of the subject of intervention. The result may be more or less stable, but must be completed through perspective, through active reception, or through participation. The landscape is there to ensure a subjective gaze; intervention, to turn landscape upside down.
Text: Juan Pablo Orduñez (MawatreS), Igor Rezola y Arturo / fito Rodríguez.
Juan Pablo Ordúñez / MawatreS (Madrid 1986)
Survivor, he has devoted most of his time to being smeared in mud, paint and spray paint. Originally from the world of graffiti and street art, his work has drifted over the years towards conceptual intervention.
Concerned about the elements which construct and condition the city, and the city's customs and meanings, he works on the idea of intervention even without knowing exactly what the word means as an artistic discipline, but discovering it at every step. He was born in Madrid and lived there until he was 12 years old. He is 27, and has lived in Bilbao for many years. His recent works focus on the idea of "tradition", with an understanding of history as a complex context; as if it were possible to circulate between the lines in history books and spin the text around.
His latest shows include:
- “Hasta la Bandera”. BilbaoArte. Solo show. 2014
- Intervention at the facade of C.C Las Cigarreras. PhotoALC. Alicante 2014
- “Ooze. Intervención y ciudad”. Barcelona. Marzo 2014
- “Reunión!”(con Helen Duboc + Fermin Diez de Ulzurrun). Galería Windsor. Bilbao + Ciudadela de Pamplona. 2014-2015
- “Que se pare el mundo”. Museo Guggenheim Bilbao. 2013
Igor Rezola Iztueta (Itsasondo, Gipuzkoa 1974)
His artistic practice is closely related to his personal journey as a worker in the metal sector and as a graffiti writer and muralist, issues which he viewed from new perspectives when accessing academic and artistic training.
In his current proposals three strands of study may be distinguished, merging in various ways: in the first place, artistic practices which occur on the margins of the law; graffiti, street art, but also proposals with a political/social/trade-unionist edge, with or without artistic pretension.
In the second place, the ideas of private/intimate space and public space. Spaces where ultimately the above practices are inserted. And thirdly, the idea of (waged) labour, and its ability to condition different spheres of life, including artistic production itself.
His latest shows include:
- "35,5 Ordu". Sala Oxford de la Casa de Cultura. Zumaia 2013
- “The Wall Project”. Centro de Arte Contemporáneo Winzavod. Moscú 2011
- “Gora Mugak”. Protvor Gallery. San Petesburgo 2011
- "Artistas residentes en Pekín". Sala Araba. Vitoria 2013.
- "1443 Ordu". Beijing 2013
- "Entre lo político y lo poético". Sala Torrene. Getxo 2013
- "AKME 2012. Low Cost". Bilbao 2012
Arturo, fito Rodríguez Bornaetxea (Vitoria – Gasteiz 1964)
Currently professor at the Departamento de Arte y Tecnología from the Facultad de Bellas Artes at Universidad del País Vasco EHU/UPV.
Founder member of the collective "Fundación Rodríguez", executing various artistic and cultural projects between 1994 and 2012. Former lecturer in the experimental area at the Centro de Imagen y Nuevas Tecnologías de Vitoria-Gasteiz, between 1990 and 1994.
He has curated seasonal projects such as "Stand by: TV" for Caixaforum in Barcelona, "Panel de control: Interruptores críticos para una sociedad vigilada" in Centro de Arte de Sevilla, “Beste Bat. Una mirada al rock radical vasco” (junto a Miren Jaio) in Sala Rekalde de Bilbao, "Spots electorales: el espectáculo de la democracia" 2008, Palau de la Virreina, Barcelona (with Jorge Luis Marzo). "Jaime Davidovich: Morder la mano que te da de comer", 2010, Artium, Vitoria - Gasteiz, etc.
He has written scripts for the RTVE programme. "Soy Cámara, el programa del CCCB", as well as for shorts and documentaries . His work is distributed by HAMACA
He writes occasionally for the specialist press on art and contemporary culture.
Joan Vinyoli, del blau de la paraula (from the blue of the word)
10.10.2014 – 31.10.2014
Opening, Friday October 10 at 19:30
[program of the activities Joan Vinyoli in Vic]
Does the word have colour? Does poetry have colours?
When Feliu Formosa, in 1978, presented Trakl to the Catalan audience he wrote that blue was the colour which dominates his poems (although it means guilt, evil or misfortune). Jordi Sarrate takes Formosa's gesture and takes Vinyoli at his word, the word of "Blue Song" ("This inside the blue of the word / blue to blue, blue to still more blue") and reads the poems from this colour, from this perspective.
We speak of "reading" and not of "interpreting" or illustrating. Reading as an act of co-creation, of ending the poem; an event which is finally resolved here in imagery.
Because "From the blue of the word" comprises works executed through a process of creation which is, in essence, the process of reading, a parallel work to the poet's, a work of the mind and the gaze.
Sarrate knows the work and the person of Joan Vinyoli very well indeed, having made contributions with him as an artist, playwright and editor. In the reading of Vinyolian texts, all doors to perception and dialogue with the work and the person open up; dialogue in action. The doors to perception are flung open, because the eyes of the Sarrate-reader, guided by the image, open out the horizons of reading towards a broader and deeper vision, from all the perspectives which the poem has to offer us.
The doors to dialogue are flung open, because his work forms a relationship between the text and everything pertinent to the Sarrate-persona. The work is, in fact, a dialogue between the poems and his reading of them.
09.09.2014 - 27.09.2014
Presentació i inauguració, dimarts 9 de setembre a les 19.30 h
They work together because the painter would like to write and the writer would like to paint. They work together because of artistic affinity and family proximity, which come together in a studio where it is as though time stands still. But it only seems to be this way. Time does pass, and, in passing the time together, they realised that their drawings need few words and the words need clear images. They work together with few pretensions, and this quality is what they attempt to transmit.
Boira Baixa (Low cloud), is a slow-matured book, with natural, genuine and local ingredients, delicately combined. Boira baixa is a mating dance, the wind moving the leaves, the waves breaking over the sand, and is everything which, through instinct or through necessity, ends up together.
ART + SCHOOLS + NETWORKS
Opening, Thursday 15th May at 6 pm
Exhibition of works by pupils as part of the third edition of ART AND SCHOOL:
Col·legi El Roser, Sant Julià de Vilatorta - Col·legi Escorial, Vic - Col·legi La Salle, Manlleu - Col·legi Sagrat Cor, Vic - Col·legi Sant Miquel dels Sants, Vic - CEE Ramon Surinyach, Ripoll - Escola Andersen, Vic - Escola Doctor Salarich, Vic - Escola El Gurri, Taradell - Escola El Roure Gros, Santa Eulàlia de Riuprimer - Escola El Vinyet, Solsona - Escola Els Castanyers, Viladrau - Escola Espill, Manresa - Escol Ildefons Cerdà, Centelles - Escola L’Era de Dalt, Tona - Escuela Miquel Martí i Pol, Lliçà d’Amunt - Escuela Mossèn Cinto, Folgueroles - Escola Vic Centre, Vic - Escola Tomàs Raguer, Ripoll - SI Gurb, Gurb - Institut Jaume Callís, Vic - Institut La Plana, Vic - Institut Miquel Martí i Pol, Roda de Ter - Institut Taradell, Taradell - Institut Tona, Tona - SI Calldetenes, Calldetenes
ART AND SCHOOL aims to promote and value the presence of art in school, to establish a network of collaborations between different organizations in the arts and education, to support teachers in developing transversal projects,to display and disseminate work on a unified theme, and to share resources, methodologies and mechanisms of evaluation, through the relationship between pedagogy and contemporary arts. This new edition has worked on the subject of: NETWORKS
More information about the project: http://artiescola.cat
You can see the video of the work process in schools
Give your opinion!
Exhibition of the final projectes of the workshops
15.05.2014 – 20.09.2014
Opening, thursday 15th May at 19.30 h
A project promoted by ACVic Centre d’Arts Contemporànies in conjunction with Escola d'Art i Superior de Disseny de Vic, as part of the international "Adobe Youth Voices" programme and with the participation of Les Salonnières.
This project is part of Hibridacions i Contextos A collaborative programme between arts centres and art schools around Catalonia. The workshop initiated several audiovisual projects, through training programmes on image processing and video editing. Technical education was combined with learning skills in conceptualisation, thematic development, task management, and in how to structure working teams. During this process, a series of multimedia presentations were made on a number of social issues, proposed in accordance with the visions of young participants aged between 16 and 18. Issues such as work, wishes, the future, insecurity, prejudice, roles, labels, routine, identity, have arisen in a series of short films using animation, fiction or experimental video.
Part of the work process involved the collaboration of The Salonières, an artists' collective who use visual techniques, performance and workshops within their artistic practice. The collective participated in the development of activities which brought groups together, selected themes and focused upon social issues. In this case, art and communication serve as tools for cohesion, social protest or expression. What do we like or dislike about our surroundings? What wishes or worries would we like to express? How can we express our ideas, and how might we organise ourselves in groups to perform them? These are the key questions which have informed the various phases of the workshop. Using the experience gained, combining education and production under the title Have your say!, the young participants decided the content of their work, and brought it to a successful conclusion.
Pupils have participated in the project voluntarily, out of school hours and using the school's resources.
FINAL PROJECT / TRAJECTORY
Escola d'Art i Superior de Disseny de Vic
Project by Carla Serrat
15.05.2014 - 07.06.2014
Opening, Thursday 15th May at 19.30 h
The project was developed in Tarbes (France) as part of an Erasmus programme which Carla began in September 2013, and which has just concluded in Vic. This exhibition is a selection of works which, taken relative to each other, bring meaning and shape to this experience. Etre / being in a new place implies observing, listening, taking part, and looking for ways to bring dialogue and to communicate.
Above all, the project takes, as points of departure, references and elements of the body, either her own or those of others around her; personal stories and perceptions; internal dialogues;privacy; and absolutely, the need to narrate, building upon experiences and situations.
Deu mil tardes
Publishing Guillem Ramisa Ayats
Edition Associació Tapís
Exhibition of poems, illustrations and images from a book made by hand.
04.10.2014 - 03.05.2014
Presentation of the publication and opening of the exhibition,Thursday the 10th April at 7.30 pm
The exhibition includes poems by Guillem Ramisa, illustrations by Ana Cabello, Bibiana Gala, Carlos Sadness, Ester Tarabal, Gerard Rodríguez, Irene Matarrodona, Joan Peiron, Jordi Farrés, Lara Alejandre, Maite Rosende, Martina Tarabal, Olga Capdevila, Óscar Astromujoff, and Pol Anglada, and with pictures of the papermaking and printing processes done by the Associació Tapís.
Deu mil tardes, by Guillem Ramisa Ayats is a book of illustrated poems, the first to be published by Associació Tapís as part of the Aktua project of finding ways towards workplace inclusion for young people in the county of Osona. Using an already-existing paper-making workshop, the publication of books gives participants experience in acquiring working habits as well as basic skills in language use, mathematics, environmental awareness, home economics and computer science. Young people have been involved in virtually all of the project's tasks, from preparing sheets of paper, to distribution, printing, binding and distribution. The sale of the book also covers a large part of the grant-wage, and is understood by the young participants as an incentive to training, and so tightening the link between learning and employment.
Guillem Ramisa (Roda de Ter, 1985) is an artist who has always flitted between music and poetry, combining different kinds of musical projects with poetry books. Recent are El món ample, a book of poetry published in the summer of 2013, and Els homes que parlen sols, a joint show with Godai Garcia, in which musical improvisation, poetry and monologue predominate. He is also the author of the poetry collections Jo no en tinc la culpa(2009) and Els llavis muts (2010) as well as the record Els tons pàl·lids, with the group Guillem Ramisa & El teu pare in 2011
The book has, in addition, illustrations by 14 artists charged with imagining different poems. These works, along with the corresponding poems, make up the exhibition which accompanies the presentation.
Roaming of the exhibition Contact Zone. Art, Design and Society
Museu d'Art de Cerdanyola (MAC Can Domènech)
Opening, Friday 7th March at 20.00 h
[view the postal]
Exhibition curated by Curro Claret and produced by ACVic Centre d'Arts Contemporànies.
Artlantique - Camper - Emili Padrós - Gemma Busquets - Ikea i Unicef - Katrina Furniture Project (Jenga Mwendo i Tammy Petro) - Laura Arqués, Marta Petreñas i Massimiliano Scaglione - Lee Kiseung - Makea - Mariscal - Martí Guixé - Pablo España - Recetas Urbanas / Santiago Cirugeda - Shigeru Ban Architects - Uralita / Associació d'Afectats de l'Aminat
This exhibition is an intentionally heterogeneous and disparate collection of design, art and architecture projects which affect several aspects of life within society. These projects demonstrate a commitment from the artists to social problems, and how they accomplish this using parameters beyond their own specialties and practices. A quarantine zone between different creative disciplines, and an area where infection between them may be transmitted, play their part in encouraging the construction of a more responsible, safer, more pleasing and more critical environment than usual. This exhibition highlights and prioritises "human" and "social" factors, over others such as "business" or "formality". It exhibits projects with an aesthetic based upon economy of means, content with fully valid messages, and which openly attempt to capture this message.
The pieces selected for the exhibition display projects in very different contexts, and with ambitions to deal with various aspects of social life such as health, food, the elderly, prison conditions, the use of urban space, the 15-M movement, relations between locals and newcomers, relations with other first world countries where labour is "cheaper", or responses to "natural" disasters.
Museu d'Art de Cerdanyola (MAC Can Domènech)
Carrer de Sant Martí, 88 / Passatge del Llorer, 11 Cerdanyola
With the support:
Generalitat. Departament de Cultura
Diputació de Barcelona
Espai Cultura. Fundació Sabadell 1859
28.02.2014 - 03.05.2014
Opening, 28 February at 7.00 pm
Caldo de cultivo + Todo por la praxis. Arriba los de abajo | Bogotà
Mariona Moncunill.Text on Snow on the Botanical Garden | Helsinki
Núria Güell.Too Much Melanin | Estocolm
Roser Caminal.NOW&THEN. Picture yourself | El Caire
This exhibition presents four artistic projects realised from temporary residences in cities which are not the usual residence of the artists. Projects with ideas, attitudes and diverse interests such as creating collective and collaborative practices in urban contexts, the poetics between blurred reality and the sharpness of scientific classification, the critique of advanced societies which restrict the movements of people and favour the movement of capital, or the educational project based on the future aspirations of preteens while analysing the time and the cultural context in which they live.
Specific issues which tackle elements common among them, such as the relationship between the local and the visitor, their adaptability to and the connections which they establish with the place, the intensity and timing of the projects, the implications for the local context and the universal interest of their treatment, and the importance of moving within an international context . A number of issues which take on relevance in a moment such as the present one, marked by a growing political and citizen populism, which in many Western countries, is committed to the protection of borders, the promotion of a perception of the invasion of the strange, and the acceleration of anti-immigration policies and speeches.
Extralocals is an exhibition which provides insight into local contexts and circumstances from the perspective of one who has lived in a town for a short time, but long enough not to be considered a stranger. A stay which would not have been possible without the existence of a network of cultural connections which support flux and contamination by fluid circulation, the right to access the resources of the city, the right to change it, and the right to aspire to universal citizenship
The other city
Project interventions in public space
28.02.2014 - 03.05.2014
Opening, Friday 28th February 7 pm
[see the invitation]
The other city is an project of art and citizen participation, coordinated by Alícia Casadesús and Sol Roca.
It was produced with students from different disciplines of the Escola d'Art i Superior de Disseny de Vic, and many people have been involved in a four month process combining training and a real project. The work took into account various aspects of public space: physical, social, political and temporal. Several interventions were raised in areas of the Casc Antic (Old Quarter) and the Barri del Call (Jewish Quarter), using different resources and objectives such as perception, poetry, local history, a critical perspective, the relationship with specific groups of the city or the impact upon those who pass through the city.
The ephemeral interventions took place on the last weekend of December in different parts of Vic, and the exhibition is a collection and a documentation of the projects which were carried out.
Participants of the project: Amanda Hinojosa, Biel Barnils, Colins Buko, Dolors Garcia, Eduard Puig, Eric Rubio, Janna Locher, Josep Franch, Laura Padrisa, Maria Tuneu, Mariona Piris, Meritxell Prat, Marta Camprubí, Marta Frigola, Mireia López, Montse Poch, Naira Martínez, Olga Guasch, Pau Sardiné, Pol Guinart, Rut Bau, Salvador Plans, Soraya Navarro, Verònica Navarro and Xavier Oró.
The other city was promoted by Departament de Cultura i Ciutadania de l'Ajuntament de Vic, with the collaboration of Escola d'Art i Superior de Disseny de Vic, el Col·legi d'Arquitectes, la Farinera, la Universitat de Vic and ACVic Centre d’Arts Contemporànies.
Exhibition design by Amanda Hinojosa, Laura Padrisa, Marta Camprubí, Montse Poch, Pau Sardiné, Pol Guinart, Soraya Navarro and Verònica Navarro.
Collaborative Project II
Exhibition by Toni Sadurní and Irene Solà
Winners ex aequo of the Beca Ciutat de Vic a la Producció Artística 2013
Opening, 28th February at 7.00 pm
[see the invitation]
“We live in a moment of complex crisis which brings with it a series of social and living conditions which are troubling and turbulent, where prospects and hopes for the future are uncertain and unpromising. In this situation, many young people like us have been forced into a general exodus.”.
Toni and Irene respond to this situation with the project TO EAT / INSTRUCTIONS, since Toni lives in Berlin and Irene in Malla, Reykjavik and Brighton. The goal, then, is to make use of the spatial circumstances of our lives, to work through and with this distance, to study it in depth. We investigate and confront critically and actively this key issue of our generation. We are therefore determined to investigate, conclusively and rigorously, love and friendship at a distance, to question how people love and relate to each other when they are far distant and also when they are nearby, exploring the landscapes formed, which can be constructed and deconstructed in the intangible space which is the distance (whatever it is) separating us.
We understand collaboration not only as cooperative work, but as a living space to make friends, to investigate, and to build something capable of changing the habits of thought. A place for conceiving of and implementing new experiences and living situations, a place of possibility.
The project TO EAT / INSTRUCTIONS was developed with the Beca Ciutat de Vic a la Producció Artística 2013. Through action, archive , and theoretical and photographic project has materialized in the form of artist's book titled food and a photographic series called INSTRUCTIONS. Simultaneously, two video pieces produced by Irene alone in Iceland: Jerks and Game to Read. Both videos explore new ideas through the action of collaboration, communication and distance (which in this case is linguistic and cultural).
Under the shadow of the optimism
08.11.2013 - 13.02.2014
An exhibition by Atsuko Arai, Curro Claret, Diego Ferrari, Les Salonnières and Tanit Plana
Opening, Friday 8th November at 8 pm
ACVic Centre d'Arts Contemporànies
C/ Sant Francesc, 1. 08500 Vic
Optimism is a state, or an attitude, in which one has a firm expectation that things will go well in spite of obstacles, frustrations or adversity. In current times, immersed in the effects of the global crisis, in which unemployment rates are overwhelming and job insecurity is increasing, in which many people suffer direct and prolonged consequences, in which society is splitting in two, in which rights are being lost at breakneck speed, in which financial powers obscure political powers, in which the distance between political leaders and citizens is increasing, in which the system and institutions are questioned, in which geopolitical tensions are becoming sharper, in which migration is intensifying ... In short, a climate which generates a contagious illness, while also festering by its constant presence and perseverance in the news headlines. Although its effects are uneven around the world, it's guaranteed that the levels of optimism in much of the European population is not at its best. In fact optimism in emerging countries is much higher, because their economies are growing and expectations are improving, although part of this increase is associated with urban speculation, territorial tensions or the exploitation of the underprivileged. A kind of growth and a way of being which reminds us of times which are not so far distant.
Don't mess with Texas
Project of Esteve Franquesa
07.09.2013 - 26.10.2013
Opening, Saturday 7th september at 7 pm
With Paralelo concert organized by Festival Hoteler in front of ACVic
Curated by Toni Ferron
"Be careful, because I can leave blind" the poet said.
Esteve Franquesa has a good eye. He is brave, and he does not hesitate to put himself in the vanguard, to “shoot” from the front. It is almost as if he were a war correspondent. One of the “old school”, who would “shoot” when they were looking through the viewfinder in the thick of the action.
I like to think, and I could say, that he is like Cartier Bresson and his “decisive moment” but he is surely better, and more precise in his photos, more like Robert Frank: “The decisive moment does not exist. It must be created.” And in these images taken in three days at l'Hoteler, Esteve found it, because he went looking for it.
He selected, photographed and constructed what we see. L'Hoteler is a festival invented and created by a group of the usual suspects, lovers of rhythm and friendship… In these images presented by Esteve, it's easy to see that everything has an air of authenticity, youth, enthusiasm, generosity, energy, and a way of understanding music and, almost certainly, of understanding life itself. It is, therefore, a real-time cartography of underground music in this country and almost a dream-team of this scene.
Every festival, every movement, every fashion, every artist, and in the end every person, needs a portrait of itself which asserts itself before the world. Now, the l'Hoteler Festival has a great and exciting visual document in the excellent work with which Esteve Franquesa presents us!
Art + School + Time
ART + SCHOOL + TIME
04.07.2013 - 26.10.2013
Opening, Thursday 4th July at 19 pm
Exhibition of the projects done by the pupils in the segon edition of ART AND SCHOOL:
Col·legi El Roser, Sant Julià de Vilatorta - Col·legi La Salle, Manlleu - Escola Rocaprevera, Torelló - Col·legi Sagrat Cor, Vic - Col·legi Sagrats Cors, Centelles - Col·legi Sant Miquel dels Sants, Vic - CEE Ramon Surinyach, Ripoll - Escola Andersen, Vic - Escola El Cabrerès, L’Esquirol - Escola Els Castanyers, Viladrau - Escola La Sínia, Vic - Escola L’Era de Dalt, Tona - Escola Les Escoles, Gurb - Escola Les Pinediques, Taradell - Escola Mare de Déu del Sòl del Pont, Roda de Ter - Escola Tomàs Raguer, Ripoll - Institut Jaume Callís, Vic - Institut La Plana, Vic - Institut Miquel Martí i Pol, Roda de Ter - Institut Taradell, Taradell - Institut Tona, Tona - SI Calldetenes, Calldetenes.
ARTS AND SCHOOLaims to promote and give value to the presence of art in school, establishing a network of partnerships between different entities in the fields of arts and education, supporting teachers to develop cross-disciplinary projects, to exhibit and promote the works which are made from a common thematic and to share resources, methodologies and evaluation mechanisms, channeled through the relationship between contemporary art practice and pedagogy.
A project impulsed by ACVic Centre d’Arts Contemporànies, Centre de Recursos Pedagògics d’Osona, Escola d’Art i Superior de Disseny de Vic, Escola d’Arts Plàstiques de Torelló, La Farinera Centre d’Arts Visuals de Vic, Fundació Privada Osona Formació i Desenvolupament and Universitat de Vic.
More information of the projects: http://artiescola.cat
Project by Gisel Castells i Núria Rafart
Beca Ciutat de Vic 2013
04.07.2013 – 31.07.2013
Opening, Friday 4th July at 7 pm
The artistic intervention Naturart is an ephemeral and large sculpture project, held at different cultural venues of the city of Vic. It consists of two sculptures in various open spaces in the city, and a sculpture in an enclosed space with an exhibition of photographs about the interaction of citizens with the sculptures.
The work takes Nature as a source of inspiration and creativity. It aims to bring sculptures to life by abstraction of elements and forms of nature.
During the last decades, the asphalt and construction have formed the backbone of cities, turning them into spaces absent of life and colour. These pieces of great dimensions and living colours attempt to reclaim spaces and green spaces within cities. The work takes colours and shapes which emerge from nature to interpose and invade public spaces, and to contrast with the coldness of the city.
The dimension of the work and its anchoring in space changes each site so that the public has a different view upon them, and the works become more present. The sites selected are of cultural interest to the city, and so should be reclaimed.
This art Work aims to be linked with the city, so it cannot be moved to other places or situations. These works are located in specific areas of the city rooted in buildings, trees or other architectural elements.
Involving newly-arrived women in the host community
03.07.2013 - 26.10.2013
Opening, Wednesday 3th July at 6.00 pm
Starring: Santi Serratosa and Mariona Castells -body percussion-, the groups Ghana Man and Tam Tam Gospel and a session of dance in India.
The project Breaking Borders attempts to network among women living in Vic, so they can play an active and important role in the city.
The Initial phase of the project has been aimed primarily at improving the spoken Catalan of Moroccan, Punjabi and Ghanaian women through oral communication workshops called "Let's talk."
Learning about the surroundings has played an important role since the start of the project. Participants have visited various town services and facilities such as the Guardia Urbana precinct, CAP de salut El Remei [health centre], the Joan Triadú library, or the University of Vic.
As a parallel activity, and coinciding with holidays or celebrations, there have been been more relaxed participatory workshops on wool within the Mercat del Ram (traditional easter market), the "gatherings for weaving" on Wednesdays or International Women's Day with the "Dona mà" (hand woman) project.
The second phase of the project began in April with a range of workshops for all citizens who share in common the idea of cross-relation, training, dialogue, collaboration and social cohesion.
Promoted by Ajuntament de Vic through Oficina d’acollida, VicDones-SiadOsona, Ciutadania, Participació ciutadana i Cooperació al Desenvolupament. With the support of the Fundació La Caixa.
Roaming of Intermediate Zone, Art, Design and Society
17.05.2013 - 28.06.2013
Unnim Espai Cultura de Sabadell
Exhibtion curated by Curro Claret
Produced by ACVic Centre d'Arts Contemporànies
This exhibition is an intentionally heterogeneous and disparate collection of design, art and architecture projects which affect several aspects of life within society. These projects demonstrate a commitment from the artists to social problems, and how they accomplish this using parameters beyond their own specialties and practices. A quarantine zone between different creative disciplines, and an area where infection between them may be transmitted, play their part in encouraging the construction of a more responsible, safer, more pleasing and more critical environment than usual. This exhibition highlights and prioritises "human" and "social" factors, over others such as "business" or "formality". It exhibits projects with an aesthetic based upon economy of means, content with fully valid messages, and which openly attempt to capture this message. The pieces selected for the exhibition display projects in very different contexts, and with ambitions to deal with various aspects of social life such as health, food, the elderly, prison conditions, the use of urban space, the 15-M movement, relations between locals and newcomers, relations with other first world countries where labour is "cheaper", or responses to "natural" disasters.
Artlantique - Camper - Emili Padrós - Gemma Busquets - Ikea i Unicef - Katrina Furniture Project (Jenga Mwendo i Tammy Petro) - Laura Arqués, Marta Petreñas i Massimiliano Scaglione - Lee Kiseung - Makea - Mariscal - Martí Guixé - nanimarquina - Pablo España - Recetas Urbanas/Santiago Cirugeda - Shigeru Ban Architects – Domènec – Núria Güell – Viuda De
Exhibition displays made at the workshop Arrels Fundació by Aurelio and Valerio.
Espai Unnim Cultura (C. d'en Font, 25 Sabadell)
Alsina Soluciones de encofrados
ACTIVITIES RELATED TO THE EXHIBITION:
Round table about the social responsibility of the artist, architect and designer
Jueves 16 de mayo a las 19.30 h
Participants: Santiago Cirugeda, architect and exhibition's participant, Maia Creus, curator and university teacher, Curro Claret, designer and exhibition curator and Pep Dardanyà from Unnim Espai Cultura, table moderator.
Workshop collective constructions by Curro Claret
Saturday 29th June and 6th June from 11 am to 2 pm
Workshop design and construction of furniture or gadgets with the assembly of various materials. Price 45 euros (50% student discount, the price includes the part and participants will take home).
Issue nº 1
FINAL PROJECT / TRAJECTORY
Escola d'Art i Superior de Disseny de Vic
Issue nº 1
Project of Laura Batriu
17.05.2013 – 15.06.2013
Opening, Friday 17th May at 20.00 h
Final Project / Trajectory is a program of the Escola d’Art i Superior de Disseny: a project staging done by the students at the end of a training cycle studies or higher studies. Final Project / Trajectory aims to provide a outreach that always carries the Graduation work, leveraging resources and exhibition center's own complicity and collaboration of institutions in the city, which allows us to present some of these projects outside the Escola d'Art.
In my work I experiment with mixing up the languages of art and advertising. The results are compositions and/or contextual objects, appropriated from other creations and which combine image, text, colour and texture. I work intentionally using superfluous themes, using everyday myths and the world of appearances. Although connected with consumer culture, they still deal with timeless and universal themes. I don't look for a reaction from viewers, but rather to connect with then, laugh at the absurd and lend transcendence to that which we think of as banal.
The project Issue nº 1 continues a line of work initiated some years previously.
The project proposes to investigate the mix-up of the languages of art and advertising, starting from the following concepts: art and context, appearances and fashions. And, on the other hand, it proposes to explore new media and formats.
The result of the project will be a series of large-format works, embroidered on fabric, and the start of a magazine, fanzine, with live interventions. The theme will turn upon the rubric, “love, fame and beauty”.
"Through the looking glass" in Terrassa
Roaming in Sala Muncunill of Terrassa
11.05.2013 - 23.06.2013
Opening, Saturday 12th May at 19.00 h
The touring exhibition forms part of the cultural services programme of the Direcció General de Promoció i Cooperació Cultural, offered to municipal art centres and museums. Its mission is to promote contemporary artistic practices in Catalonia as a whole and bring them closer to the people.
With the exhibition "Through the Looking Glass", Joan Fontcuberta (Barcelona, 1955) fully involves himself in a number of issues, crucial in the contemporary debate on artistic practices, arising from the use of new technologies in the field of global communication. Art, even though sometimes considered as belonging to a marginal area of contemporary activities, cannot escape forming part of this broad spectrum of communication.
The exhibition invites us to reflect on the increasing number of images, on their importance , on the proliferation of creators versus the transformation of the traditional concept of authorship, the ease with which images can be generated, the loss of control over their meaning and usage, the potential of the internet for their dissemination and viral spread , threats over privacy versus the public dramatisation of intimacy, all elements clarified and enhanced through the use of social networks and, in this case, connecting with an artistic perspective.
Compiling these images of people photographed in front of the mirror, ost of them published and disseminated through Internet social networking, projecting them in a superimposition of mirror-like self-portraits, the exhibition space is transformed by the confluence of multiple overlapped images, to become a saturated scenario where a performance of unbridled subjectivity takes place in which, as Joan Fontcuberta has said, "playful self-examination prevails over memory." In the exhibition there is a device equipped with a camera and a program with which the viewer may add, if desired, his/her self-portrait.
Joan Fontcuberta has said, in a previous presentation of his work, that broadly speaking there are two types of photography, the one belonging to a decorative sphere and the one in the field of thought; that which embellishes and that which provokes thought. Since the beginning of his career, Fontcuberta has worked in the field of photography leading to reflection, subverting reality, and generating and inscribing a new reality in the mind of the viewer.
Sala Muncunill (Plaça Didó, 3 Terrassa)
From Thuesday to Friday, from 5 pm to 8.30 pm
Saturday, from 5 pm to 8.30 pm
Sundays, from 11 ap to 2 pm
Monday and holidays, close
Estratègia de la precarietat
04.04.2013 - 15.06.2013
Opening, Thursday 4th April 2013 at 19.30 h
The concept of time generates its own images: orange peel, cake, snail shell, rosewood, the factory basement ... suggests the complexities of the maze, the density of accumulated layers and the overlapping of palimpsests. Largely the work of Francesc Abad from structured reflections on time made in the absolute present (territory,ideology, conflict) to be projected into a past conceived as a construction of history and memory (W. Benjamin), and towards a future to consider and formulate the shade of utopia (E. Bloch).
This discourse confronts a dual contingency, one imposed by the passage of time and the other generated by the dominant powers (capital, ideologies). Thus, a strategy for a state of precariousness must be developed, a kind of samidzat, from which to mount a possible resistance and confrontation.
Project curated by Miquel Bardagil and Magdala Perpinyà.
Camp a través
A Project by Ona Bros with the collaboration of Elena Fraj
19.03.2013 at 6.30 pm. Presentation of the project, and results of the workshop "Digital narratives and domestic memories", realised with pupils from the Escola d'Art i Superior de Disseny de Vic.
04.04.2013 - 11.05.2013 Exhibition Camp a Través.( Across fields) ACVic c. Sant Francesc, 1 08500 Vic
“Running from the fascists on foot, across fields, retracing the journey between Anglesola (Lleida) towards the French border to be interned for some months in the camp at Ribesaltes”
The project Camp a Través is a laboratory of visual arts and domestic memories, investigating new narrative applied to production, distribution and networked interactive media through self-editing of stories.
Starting with the story passed down from grandmother to grand-daughter, a capsule memory has been created, which retraces the journey of a flight (Anglesola - Cervera - Manresa - Vic - Olot - Camps de Molló ending at the French internment camp at Ribesaltes).
The capsule repeats the itinerary of this journey. At each stop, like a synergistic dynamo, a collaborative investigation is undertaken, regarding self-narrated history and new technologies, and in this way, we reconfigure the journey, changing it from being a terrifying remembrance, into a creative, learning tour of community empowerment.
In Vic a work group was deployed comprising students from the Escola d'Arts i Superior de Disseny de Vic, in a workshop entitled "Digital narratives and domestic memories". The exhibition to be presented in Vic is formed from the capsule memory by Ona Bros, an installation combining photography, video, and the results of the work with the students of the Escola d'Arts i Superior de Disseny de Vic, in collaboration with Elena Fraj.
The network continues to spread according to how the project progresses. A technological, human network, circulating private memories in a common, political hypertext.
The capsules travel across fields.
Ona Bros (Lleida, 1977). Photographer and visual artist. Graduate in photography from the Fundació Politècnica de Catalunya, Bachelor in Art History. Master in Art Production and Research. Her work follows two strands: documenting social processes, and using photography as device for political intervention. Participant in various art-activism collectives such as Las Agencias; she has realised some works regarding gender and migration in Morocco and Middle East, as “Osama” in audiovisual or “Neguev” a photographic essay. Her works have been exhibited at La Casa Encendida( Madrid), Museo de Historia( Zaragoza). Currently she is dedicating herself to production, teaching, and reflections upon documentary and collective narrative technologies.
Elena Gabriela Fraj Herranz (Zaragoza, 1977). Associate lecturer at Image and Design Department ( Fine Arts Faculty) and in the Degree of communication and cultural industries at Universitat de Barcelona. Doctorate student in HIstory and Theory of Audiovisual Representation at Audiovisual Communication Faculty at Universitat Autònoma de Barcelona, and Bachelor in Fine Arts Universitat de Barcelona. Teacher of video-editing at Centre d'Innovació i Formació de L'Hospitalet, SOC. Collaborates with video works in collective projects linking art, activism and pedagogy, such as oXcars, X.net, Enmedio and Yomango. Awarded the Espais d'art contemporani 2006 in Girona with the documentary Mémoires d'unes serveuses, with the help of a grant from Instituto de la Juventud, DGA.
Roaming of "This is not a museum. Mobile devices lurking"
This is not a museum. Mobile devices lurking is an exhibition curated byMartí Peran and produced by ACVIC Centre d’Arts Contemporànices in collaboration with AC/E Acción Cultural Española. It is a part of the project Ceci n’est pas une voiture, promoted jointly by ACVic, Can Xalant and IDENSITAT.
A77 - Adriana García Galán - Amor Muñoz - Ana Dumas - Anna Recasens - Antimuseo - Cinéma Numérique Ambulant (CNA) – CLUI - Colectivo Cambalache - Colectivo Descarrilados - Colectivo Kabaret Machine - Cristian Añó and David Armengol - Diego Pérez - Domènec - Fabiana de Barros - Fanzinoteca Ambulant - Felix Mathias Ott - Floating Lab Collective - Iñaqui Larrimbe - Ivan Puig and Andrés Padilla - Josep M. Martin – La Fundició - Lluc Mayol, Matias Rossi and Ricardo Duque - Makea Tu Vida – Marksearch - Miquel Ollé and Sofia Mataix - Núria Güell - Nuria Montiel - Pablo Helguera - Pablo Rojas Schwartz - Pau Faus - Platoniq - Public Works - Raimond Chaves - Rallyconurbano - Raumlabor - Sabrina Artel – Soundlab - Straddle3 and Todo por la Praxis - Theo Craveiro - Toni Tomàs and Carles Porta - Virginia de Medeiros - Vitor Cesar
14.05.2012 - 17.06.2012
Slovene Ethnographic Museum
09.01.2013 - 26.01.2013
Corocoran Collage of Art and Design
Washington (United States) 23 - 25.01.2013
Workshop Art, Social space and Mobile devices
By Domènec Montserrat in collaboration with Edgar Endress
Artist Conference This is not a museum
A càrrec de Javier Toscano (Mèxic DF), Calder Brannock (Lynchburg, EE.UU) and Domènec Montserrat (Barcelona)
09.04.2013 - 23.06.2013 Centro Cultural de España City of Mexico (Mexico)
28.09.2013 - 24.11.2013
Museo de Arte Contemporáneo
Santigo de Xile (Xile)
16.01.2014 - 07.03.2014
Centro Cultural Español
Miami (United States)
Una màquina d'espavilar ocells de nit
From visual premonition to the written word
Toni Casassas and Jordi Lara
Presentation of the project, 28th December 2012 at 7.30 pm
Video installation, from 07.01.2013 until 02.03.2013
This exhibition explores the relationship between literature and the moving image beyond the cinematographic adaptation of a text. It takes as its starting point three moments from Jordi Lara's novel Una màquina d'espavilar ocells de nit (A machine for waking up night-birds), evoking them through performance actions, afterwards translated into audiovisual language.
In the exhibition space, with five short films and graphic support, a creative strand may be followed: beginning with a video introducing the novel, continuing with a piece documenting the situations of filming and the interartistic story, ending with the three visual premonitions, belonging to a video-poem.
“When we read, our minds contruct images. Who knows if these mental images the reader puts together are nothing like the visions which one day struck the writer and moved him to write? They are visual premonitions, filmic sketches of a text, submerged cinematography never realised – except in this project – and which may give way to new texts.”
With the collaboration of Meritxell Manyoses, Àngels Agulló and Josep Maria Serracant.
This project has received assistance from the OSIC Oficina de Suport a la Iniciativa Cultural del Departament de Cultura de la Generalitat de Catalunya.
Claudio Zulian. A lo mejor i Entusiasme II
A LO MEJOR (Maybe)
21.11.2012 - 05.01.2013
People and cities, imagination and futures
Project in progress
The activity is part of the artistic, stage and film project Entusiasme by Claudio Zulian, coordination with Bòlit Centre d'Art Contemporàni
and in collaboration of Nits Digitals.
A LO MEJOR (Maybe), 2007
Some inhabitants from the Romanian region of Dimbovita talk about how they imagine Castellón, the Spanish city to which their relatives and friends emigrated, and where they have never been. Desires, problems, longings and fears of a group of people in a globalised world.The original Romanian voices were dubbed by two Romanians, a woman and a man living in Spain for a long time. The accent is the journey of language. The Video-installation is the result of a prolonged dialogue with the participants.
ENTHUSIASM II: People and cities, imagination and futures
ENTHUSIASM is an artistic proposal bringing together different disciplines around a single multifaceted idea, consisting of imagining a city which we would be excited to live in. It was intended that the project should integrate different citizens' groups to participate in some of its phases. The first part was carried out in Gerona, with el Bòlit Arts Centre, and the second part in Vic, with ACVic and the collaboration of Nits Digitals.
ENTHUSIASM II will begin with a workshop to promote meetings and conversations between different groups of residents from a district in Vic, with a view to imagining and shaping a free, vital future. It will deal with providing, within the context of the location, a stimulus and a reason to bring together rich cultural traditions, European and non-European alike. Migrants are the expression of culturally complex contexts, and their presence constitutes an opportunity to open up to the world in a time like ours, in which, everything important to our common future is in jeopardy. Along with the working group which participated in the workshop, a dynamic was established to explore the city together, how to imagine it, how to feel it. Everyone spoke of how they imagined the future, from their cultural viewpoint. These conversations formed the basis for a staged audiovisual work in which the workshop's participants took part.
ART + SCHOOL + CONTEXT
07.10.2012 - 09.02.2013
Opening Sunday 7th Octuber at 12.00 am
ART + SCHOOL + CONTEXT is an exhibition of works by students of nursery, primary and secondary schools. It consists of two parts, the first to become a new phase in the project ART AND SCHOOL which was deployed throughout 2011-2012 and which involved twenty-two schools.
CEIP Dr. Robert, Camprodon – CEIP El Castell, Tona – CEIP Els Castanyers, Viladrau – CEIP Joan XXIII, Balenyà – CEIP La Sínia, Vic - CEIP Les Escoles, Gurb – CEIP Les Pinediques, Taradell – CEIP Mare de Déu del sòl del Pont, Roda de Ter – CEIP Mossèn Cinto, Folgueroles - CEIP Tomàs Raguer / CEE Ramon Suriñach, Ripoll - Col·legi El Roser, Sant Julià de Vilatorta - Col·legi La Salle, Manlleu – Col·legi Sagrat Cor de Jesús, Vic – Col·legi Sagrats Cors, Centelles – Col·legi Sant Miquel dels Sants, Vic – Escola L’Era de Dalt, Tona – Escola Vedruna, Tona – Escola Vic Centre, Vic – Institut de Taradell, Taradell – Institut La Plana, Vic – Institut La Roca, La Roca del Vallès
The second part exhibits the work which artists Dani Montlleó, Gloria Safont-Tria and Martí Anson conducted with pupils and teachers at three schools and three districts of Mataró, taking as a reference the project Al portal de casa_ i els constructors_ by Jordi Canudas made in conjunction with La Sínia primary school in Vic's Remei district . The project's tour and development were sponsored by Institut de Cultura de Mataró and exhibited at Can Palauet.
Both parts of the exhibition are complementary, working on the relationship between art, education and land, and both glancing upon education through the use of art. One shows a marked interest in generating long-term structures in which teachers( or schools) take on a leadership role, accompanied by art specialists, while the other generates an interaction between artists and teachers, creating methodologies for shared work based upon the model of the artist in residence.
Ruralities. Project exhibition by Toni Casassas and Marta Ricart
08.06.2012 - 22.09.2012
Place: ACVic Centre d'Arts Contemporànies
C. Sant Francesc, 1, 08500 Vic
Ruralitaties from different perspectives , narratives and videos
The project is the result of two combined perspectives (one multifaceted, and the other oblique) upon fragments of rural life, by two artists, Toni Casasses and Marta. Ricard. It is an open dialogue between the artists, which also opens out towards contemplation of, attention to, and respect for the many worlds which coexist within rural environments. From these perspectives, the project is an attempt to define specific issues related to life within this environment; the relationships (tensions) between small towns and big cities; the battle between emerging agricultural industries and the remnants of an agro-culture based upon a close relationship with plants and animals;
landscaping as the domination of nature; and established human relationships within this context.. The circumstances of rural sites are conditioned by a post-industrial context of small towns and intermediate cities, increasingly searching for their own valid alternatives to a future marked by the need for rethinking. None of them can escape to the dynamism and the changes characteristic of contemporary times. This project looks far beyond a simple comparison between rural and urban, and far beyond the walls which divide them, to search for a specific rural identity, with no intention of utterly separating itself from the city.
AINA ROCA - ESTER GONZÁLEZ
08.06.2012 – 22.09.1
FINAL COURSE PROJECTS, ESCOLA D’ART I SUPERIOR DE DISSENY DE VIC
PAPERS on PAPERS
If you pay attention to empty spaces, where small things, tiny things can happen, I wonder: Why do I want to capture them through painting? Where would they happen then?
Which is the best question to ask myself? Why or how? (Am I asking myself why because I can't find out how?)
In Papers on paper, the paper is no longer a support for painting, but a material in itself. Open it, strip it bare, shape it, make your incisions, modify it without adding or removing. Let the material be displayed starting with a minimum action, to be incorporated within the work through its soundtrack. Halfway between the painting and somewhere else, the pictorial support is transformed into a space and demands
Project was granted a scholarship by the Foundation Felicia Fuster.
SALMIAKKI IS NOT A Japanese dish
Suomi, or Finland in the Finnish language, is so different from our home, that any detail deserves commentary. Geographical position,climate, technology and nature are some of the factors which make commentary possible. The Finns admire the Mediterranean climate, food, light, etc.. We crave and observe with fascination their level of
development, which coexists well with rural and natural spaces.
To talk about Salmiakki is to talk directly to this Scandinavian country. Licorice (the translation of salmiakki) is among the most consumed products in Finland.
I have travelled to Finland several times, and each time I have always found some new detail. The first time I was there, not knowing the language, and still I know nothing of it, it sounded to me like Japanese, of which I know nothing either. Therefore, this publication is, from my totally alien perception of Finnish culture, a collection of
facts, objects, products and words which, visit after visit, I have discovered and collected. Details which will help us to enter their society and culture. It's a small sample of what Finland is to me.
Roaming. Through the Looking Glass, Joan Fontcuberta
The touring exhibition forms part of the cultural services programme of the Direcció General de Promoció i Cooperació Cultural, offered to municipal art centres and museums. Its mission is to promote contemporary artistic practices in Catalonia as a whole and bring them closer to the people.
Locations and dates for roaming:
- Capella de Sant Pelegrí. Vilafranca del Penedès
Plaça Jaume I, 1 08720 Vilafranca del Penedès
26.11.2011 - 22.01.2012
- Espai d'Art Moritz. Cornellà de Llobregat
C. Mossèn Jacint Verdaguer, 16-18. (Bajos interior). 08940 Cornellà de Llobregat
02.02.2012 - 01.04.2012
- Museu Abelló. Mollet del Vallès
C de Berenguer III, 122 08100 Mollet del Vallès
24.05.2012 - 26.08.2012
- MUSEU DE L'EMPORDÀ. Figueres
Rambla, 2. 17600 Figueres
07.09.2012 - 27.09.2012
- ROCA UMBERT. Fàbrica de les Arts. Granollers
C. Mare de Deu de Montserrat, 36. 08401 Granollers
22.11.2012 - 27.01.2013
> Currently the exhibition is:
- Can Palauet. Mataró
C. d’en Palau, 32
08.02.2013 - 28.04.2013
- Sala Muntcunill. Terrassa
pl. Didó, 3. 08221 Terrassa
11.05.2013 - 23.06.2013
Intermediate zone. Art, design and society
Exhibition project curated by Curro Claret, with the participation of Artlantique - Basurama - Camper - Emili Padrós - Gemma Busquets - Ikea and Unicef - Katrina Furniture Project (Jenga Mwendo and Tammy Petro) - Laura Arqués, Marta Petreñas and Massimiliano Scaglione - Lee Kiseung - Makea - Mariscal - Martí Guixé - Nanimarquina - Pablo España - Recetas Urbanas/Santiago Cirugeda - Shigeru Ban Architects
With the collaboration of Escola d’Art i Superior de Disseny de Vic and Escola d'Art i Superior de Disseny Pau Gargallo de Badalona.
23.02.2012 – 19.05.2012
Opening and discussion table, thursday 23.02.2012 7pm with the participation of Martí Guixé designer, Nani Marquina designer and entrepreneur, Octavi Rofes anthropologist and subdirector of the school Eina, Curro Claret designer and Ramon Parramon director of ACVic. See Activities linked to the exhibition
INTERMEDIATE ZONE. ART, DESIGN AND SOCIETY
This exhibition is an heterogeneous and intentionally dispersed collection of projects which, from a design perspective, tackles a number of questions regarding life within society, starting out from a different set of parameters to those we might usually expect.
Supposedly the first priority of design should be "people" but in practice this is not often so clear. Many other interests are mixed up and highlighted. I do not believe this to be the case with the projects exhibited in the show; if they have anything in common, it is the effort behind each one of them to highlight and prioritise the humane over other factors.
With this exhibition we aim to offer an open and complex vision of an attitude and a way of doing things with the deliberate belief that the role and the involvement of people in the construction of the environment should be much larger, much more intense and much more pleasurable than it usually is. As the theoretician Italian Ezio Manzini says in the way of a formula, more well-being equals less use of natural resources plus more sociability.
Some would like to think that despite the apparent hegemony that the image holds within the field of design (and in any other field), we are also witnessing a growing awareness and appreciation of the fact that the most important object is not just the final object, but what it can promote, generate and catalyse. Everyone who, in one way or another, comes into relationship during any part of the process and the life-cycle of a specific design or design service (including those involved in the construction process, or as end users) must have as rich, stimulating and enjoyable an experience with it as possible.
The selection of pieces for the exhibition, inevitably partial and personal, attempts to demonstrate this broad vision through projects from very different contexts and with very different ambitions, dealing with various aspects of life such as health, food, the elderly, how to decide on the use of urban space, the 15-M movement, relations between locals and newcomers, labour relations between first World countries and others with cheaper workforces, or responses to "natural" disasters.
Finally I would like to point out that in almost all, if not all, the projects submitted, few resources have been necessary to carry them out. Addressing these "big issues" does not require big resources, nor does it require the initiative of great powers, nor need it be large-scale. Obviously, a little can go a long way.
CRAFTSMEN AND WOMEN Collective Constructions of the Social Space
art and education Jordi Canudas, public space and mobile devices Santiago Cirugeda, Makea, Straddle3, Todo por la Praxis, useful design Curro Claret, colaborative maps Guifi.net / Efraín Foglia, Iconoclasistas, Mona Fawaz / Ahmad Gharbieh / Mona Harb, Stalker / Primavera Romana, Torolab, social critic Núria Güell
Project by Ramon Parramon in collaboration with Maral Mikirditsian and Laia Solé.
La Capella - ACVic Centre d'Arts Contemporànies
Acces to publication
Place: La Capella
Hospital, 56 . 08001 Barcelona . Tel 93 442 71 71
Tuesday to Saturday, from 12 to 14 h and 16 to 20 h. Sundays and holidays from 11 to 14 h
02.03.2012 – 22.04.2012
- Debate on creative devices and uses of the public space
Round table with the participation of David Juárez – Straddle3; Diego Peris – Todo por la Praxis; Alberto Flores and Mireia Juan – Makea; Santiago Cirugeda – Recetas Urbanas and Gaspar Maza, Professor of Anthropology at the Rovira i Virgili University.
Friday 2 March, at 7 pm. La Capella
- Displaced Legal Application #3 F.I.E.S.
Debate surrounding the project of Núria Güell with the participation of Daniel Pont and Amadeu Casellas.
Thursday 8 March, at 7 pm. La Capella
- The Great Game: The Builders
Activity led by Jordi Canudas with students from La Sínia school in Vic and the Milà i Fontanals school in Barcelona.
Friday 9 March, from 12 to 1 pm and from 2 to 4 pm. La Capella. Acces to images and video activity
- Workshop by Curro Claret. Design and construction of furniture or appliances workshop, using "The piece" and the assembly of various materials. The workshop is open for entries until April 12th. 2012 Saturdays 14 and 21 April from 10 to 13h + information
- Workshop by Curro Claret with students from the advanced training programmes in Applied Arts in Sculpture and Industrial Modelling at the Massana School of Art and Design (UAB). From 7 March to 20 April. La Capella and Escola Massana.
On the Doorstep_ and the Builders_ Mataró
ON THE DOORSTEP_ AND THE BUILDERS_ Mataró
- Remei District_ Vic. Jordi Canudas and La Sínia School
- Pla d’en Boet District_ Mataró. Dani Montlleó and Camí del Mig School
- Havana District_ Mataró. Glòria Safont-Tria and Montserrat Solà School
- Rocafonda District_Mataró. Martí Anson and Germanes Bartomeu School
From 13.04.2012 to 27.05.2012
Exhibition Gallery at Can Palauet
Carrer d’en Palau, 32 · Mataró
Opening times: From Tuesday to Saturday from 5 to 8pm; Sunday from 11am
to 2pm; Closed on Monday
Originating in Jordi Canudas's project in Vic's Remei district, the project is this time being presented in Mataró, in collaboration with three local artists who are taking the process to 3 schools in 3 different districts of the city. The result of the three processes and the documentation will be added to the exhibition and initial project.
- Pla d’en Boet District_ Mataró. Dani Montlleó and Camí del Mig School
The project with third year pupils at the Camí del MIg school focuses on a proposal for a public sculpture for one of the two motorway roundabouts on either side of the neighbourhood. It works upon the concept of public space through the construction of a sculpture which runs as a leit-motif.
- Havana District_ Mataró. Glòria Safont-Tria and Montserrat Solà School
Pupils from the fourth year at the Montserrat Sola school establish links with the district through an exploration of the territory from different perspectives, but always with the presence of the sea, and its influence in the district. The result of the project will be the construction of a wooden boat.
- Rocafonda District_Mataró. Martí Anson and Germanes Bartomeu School
First year pupils from the Germanes Bartomeu School work on a construction project, starting with a 60's image of the neighbourhood showing an empty field and a landscape without buildings
Click to access programme of activities
This is not a museum. Mobile devices lurking
This is not a museum. Mobile devices lurking
ACVic Centre d’Arts Contemporànies
From 11/15/2011 to 02/05/2012
Opening: Saturday October 15th at 19:30
This is not a museum. Mobile devices lurking is an exhibition curated by Martí Peran and produced by ACVic Centre d’Arts Contemporànies in collaboration with AC/E Acción Cultural Española. It is a part of the project Ceci n’est pas une voiture, promoted jointly by ACVic, Can Xalant and IDENSITAT. During the various stages of development, Universitat de Barcelona, Museo Centro de Arte Reina Sofía, Roulotte and Cercle Artístic Sant Lluc, have collaborated, or are currently collaborating.
The exhibition has arisen, according to Martí Peran, "as an exercise in documentation and reflection on the construction of mobile devices as elements for an expanded conception of the museum, or in some cases as an alternative to it." It has a first selection of more than 50 case studies from various cities and countries. Presented as an information archive, the exhibition also showcases some of the original artifacts and various productions derived from its street work. A tour is foreseen for the exhibition, during which some new cases will be added relating to the specific contexts in which it will be displayed.
The entire project Ceci n’est pas une voiture has come together through different phases held temporarily and in various spaces. This exhibition is one of them and has been preceded by a period of residence and project production, carried out in Vic and Mataro with the aim of promoting new projects using pre-existing mobile devices, Idensitat Touring device and CX-R from Can Xalant. The projects Servicio Público de Optimización de Trastos (S.P.O.T.) by Makea collective and Càmping, Caravaning, Arquitecturing from Miquel Ollé and Sofia Mataix,
who have been in residence at ACVic and Can Xalant, are presented together with the projects of A77 - Adriana García Galán - Amor Muñoz - Ana Dumas - Anna Recasens - Antimuseo - Cinéma Numérique Ambulant (CNA) – CLUI - Colectivo Cambalache - Colectivo Descarrilados - Colectivo Kabaret Machine - Cristian Añó and David Armengol - Diego Pérez - Domènec - Fabiana de Barros - Fanzinoteca Ambulant - Felix Mathias Ott - Floating Lab Collective - Iñaqui Larrimbe - Ivan Puig and Andrés Padilla - Josep M. Martin – La Fundició - Lluc Mayol, Matias Rossi and Ricardo Duque - Makea Tu Vida – Marksearch - Miquel Ollé and Sofia Mataix - Núria Güell - Nuria Montiel - Pablo Helguera - Pablo Rojas Schwartz - Pau Faus - Platoniq - Public Works - Raimond Chaves - Rallyconurbano - Raumlabor - Sabrina Artel – Soundlab - Straddle3 and Todo por la Praxis - Theo Craveiro - Toni Tomàs and Carles Porta - Virginia de Medeiros - Vitor Cesar
> Access to the presented projects of the exhibition [text + image]
Limen. The art centre as a total institution
From 2nd December 2011 to 31st December 2011
Exhibition of photomontages by Andrea Corachán Camús
A project by Grup d’Etnografia dels Espais Públics de l’lnstitut Català d’Antropologia curated by Manuel Delgado and Andrea Corachán Camús.
A project inviting reflection on possible analogies between large containers of urban art and culture, museums, cultural centres and total institutions ... spaces of confinement and maintenance of people subjected to constant scrutiny: prisons, psychiatric centres, barracks, hospitals, cemeteries, convents, factories ... The proposal combines a series of round tables, to discuss the relationship between these two types of internment facilities, with the exhibition of a series of photomontages, which will be displayed simultaneously in the lobbies of several art centres in Catalonia.
Fundació Antoni Tàpies (Aragó, 255 Barcelona)
Museu d’Art Contemporani de Barcelona (Pl. Dels Àngels, 1 Barcelona)
Arts Santa Mònica (Rambla Santa Mònica, 7 Barcelona)
CaixaForum Barcelona (Av. de Francesc Ferrer i Guàrdia, 6-8 Barcelona)
CaixaForum Girona (Ciutadans 19 Girona)
CaixaForum Tarragona (Cristòfor Colom, 2 Tarragona)
CaixaForum Lleida (Av. Blondel, 3 Lleida)
CaixaForum Palma (Pl. Weyler, 3 Palma)
Can Xalant (Francesc Layret, 75 Mataró)
ACVic Centre d’Arts Contemporànies (Sant Francesc, 1 Vic)
Cloistered art. Regarding cultural confinement in the post-industrial era
Artists, theorists and cultural managers discuss the role of art and cultural containers, museums, cultural centres, etc. in the urban contexts in which they are located, and in relation to the dynamics of change affecting them.
Sessions will be introduced and directed by Manuel Delgado
The duration of the sessions is 2 hours approximately and the entrance is free
Flux VideoCapsa. Collective Video-installation
ACVic works with Nits Digitals with the exhibition Flux VídeoCapsa, which is part of the ECTONITS, inside the parallels activities outside the cycle.
From 12th to 20th november 2011
Opening, Saturday 12th November 6:30 pm
Collective Video-installation introducing several video works and experimenting with alternative presentation formats. It is composed of works by Iñaki Álvarez, Jordi Casas, Toni Casassas, Jan Codina, Artur Tort, Lis Costa, Xavier Gavin, Josep M. Jordana, Jordi Teixidó and Ester Xargay.
The videos are located inside a small box, fixed in a stand. To see them, a viewer must open the box and put on a pair of headphones. Each video loop is shown on a small LCD screen on a horizontal plane. Taking the whole installation and the location of the viewer into account, each video lasts approximately five minutes, so that all ten works may be viewed in less than an hour.
Selected by Núria Antentas.
This concept of video-installation, created by the festival Flux in Barcelona 2009, is presented on this occasion in Vic as the fruit of a collaboration between Nits Digitals, festival Flux and ACVIC. In this show five unedited works are presented alongside a selection of five works previously shown at the festival Flux.
Download program [PDF]
ON THE DOORSTEP_ and the builders_
On The Doorstep_ and The Builders (Al Portal de Casa_ i els Constructors_) is a project directed by Jordi Canudas for cross-collaboration among students of Escola La Sínia in the Remei district of the city of Vic, students of Escola d’Art i Superior de Disseny de Vic and ACVic Centre d’Arts Contemporànies, and with support from Pla de Barris i Participació Ciutadana de l’Ajuntament de Vic and the Generalitat de Catalunya, Consell Nacional de la Cultura i de les Arts.
21.06.2011 - 25.09.2011 [Download PDF]
Place: ACVic. Sant Francesc,1. Vic
Guided visits to the exhibition
On The Doorstep_ and The Builders (Al Portal de Casa_ i els Constructors_)
Every Saturday at 12pm. Guided visits available by appointment. Telephone ACVic on 93 885 37 04 . Free service.
Presentation of works realised during the workshop AL PORTAL DE CASA_ From the place: artistic practice and context, by Jordi Canudas with students of the Escola d’Art i Superior de Disseny de Vic: Laura Batriu, Judith Bravo, Alicia Campo, Sara Costa, Lucía Ijurco, Marina López, Neus Martí, David Reche, Aina Roca, Meritxell Serrallonga i Àlex Vélez.
Exhibition at Sala d’exposicions de l’Escola d’Art i Superior de Disseny de Vic (Rambla Sant Domèncec, 24. Vic).
From 21st June to 22nd July 2011.
Apamar. Charts, metrics and policies of space
Mona Fawaz/Ahmad Gharbieh/Mona Harb, Sarah Nelson Wright, Torolab, Isaki Lacuesta / Isa Campo, Stalker/Primavera Romana, Guifi.net, Hackitectura.net, Iconoclasistas
24.03.2011 – 04.06.2011
Opening: 24.03.2011 at 19,30h
Place: ACVic. Sant Francesc,1. Vic (Barcelona)
Apamar. Charts, metrics and policies of space brings together a selection of proposals that intervene in the city through artistic practices,architecture, design or activism. The projects intersect through proposing alternatives to the representation of space, its interpretation and how to live in it. In some cases they reveal latent conflict situations in the territory by generating maps and interpreting them. In others, they relate to self-managed social processes that activate collective strategies, by creating networks and seeking alternative systems for the citizens.
“Apamar” means to measure a field but also to know something very well. Measuring with one’s palms and being in control of a circumstance or situation supposes a subjective knowledge about the context. The exploration of the territory, critical cartography, the selection and display of data, processing of information or collective creation are issues that relate to subjectivity and socialization of space.
The participating projects in the exhibition, some finished while others still in process, work with the many underlying qualities of geographical maps. Experimenting with this seemingly conventional medium, while staying faithful to some of its main attributes such as accuracy, factuality and intentional objectivity, they create new models from a critical perspective and with the objective of proposing alternative strategies. They are born as a reaction to various situations that represent a need for reflection and active response, and they are materialized in various formats. Together,
they come forth as tools that are clearly political and serve for pointing out and making visible spaces in conflict situations; in some cases, they activate collective processes while experimenting with new strategies that allow citizens to intervene in the organization of social space.
In this sense, Beirut: Mapping Security by Mona Fawaz, Ahmad Gharbieh and Mona Harb, depicts the numerous types of security measures that have been established in municipal Beirut as a result to the armed conflicts the country has witnessed since the 70’s. Sara Nelson Wright’s visual mapping of six individuals’ travels in Brooklyn, Locations and Dislocation, is a reflection on the effects of gentrification and urban expansion. In LRPT (La región de los pantalones tranfronterizos), the Tijuana-based collective Torolab makes visible the transnational mobility of the inhabitants of the twin cities of Tijuana and San Diego. Isaki Lacuesta and Isa Campo visit Places that do not exist, and provide us with an account of the reality of these places that have desappeared from google earth for being protected areas. Geografie dell'Oltrecittà and Agroculture nomadi de Stalker/Primavera Romana are common design projects that generate and share social knowledge and awareness on urban changes, while Guifi.net in Catalunya, Mapeo Colectivo from Iconoclasistas in Buenos Aires and Mapping the Commons, Athens by Hackitectura.net all spur us into participation with the aim of creating common resources.
This exhibition is part of ACVic Centre d’Arts Contemporànies’ Expo Program, and is curated by Maral Mikirditsian, Ramon Parramon and Laia Solé.
The cities within the city
Ephemeral Art Installation for different parts of the city of Vic. A project by Alícia Casadesús.
Nights of 13, 14, 15.05.2011 from 21.00h to 02.00h
“..The cities are a combination of many things. Of memory, desires, signs of a language. Cities are places for exchange, but not only the exchange of goods but also for exchanging words, desires, memories”. Italo Calvino
"...cities are a collection of many things: memories, desires, signs of a language, places of exchange, but these sites are not only exchange of goods, are also exchanges of words, desires, memories". Italo Calvino
The identity of a city, including Vic, is defined mainly by all the people who live there, who works there, who visit it... That is why this work is shaped by conversations with people linked to the city, who have been asked to choose a place in the city which interests them, either for aesthetic appreciation, for perceptual reasons, social, empirical, historical ... From this starting point, a work has been executed which can be seen at various outdoor areas of the city, aiming to show the invisible, anonymous and the intangible parts of the city which somehow give it an identity, emphasising the city, constructing it. The part which converts spaces into places. [download postal and map]
Activity related to the Art and Children 2011 conference organized by UVic and the Escola d'Art i Superior de Disseny de Vic. [download the program in pdf]
CATALYSTS. Art, Education, Territory. Arts Santa Mònica
CATALYSTS. Art, Education, Territory
Exhibition 17.12. 2010 - 25.04.2011
Place: Arts Santa Mònica. La Rambla,7 08002 Barcelona. Espai Anella
Projectes by: Amasté, Jordi Canudas, Santiago Cirugeda, Democracia, Josep-Maria Martín, Tanit Plana, Sinapsis, Laia Solé
CATALYSTS. Art, education, territory is an exhibition showcasing art projects and participatory processes which are grounded in a direct relationship with a particular local context. Each of this set of proposals comprises three essential components, which combine with and relate to one another with varying degrees of interaction: they are artistic practices, they foment educational activities, and they take place in a specific spatial and temporal territory or context, while embodying a critical reflection on politics and society.
Curated by: Ramon Parramon
Organized by: Arts Santa Mònica - Ministry of Culture and the Media
Produced by: Arts Santa Mònica - Ministry of Culture and the Media, ACVIC Centre d'Arts Contemporànies
Through the looking glass Joan Fontcuberta
Through the looking glass
Opening Thursday, December at 19.30 h.
ACVic presents the exhibition Through the looking glass by Joan Fontcuberta in collaboration with Digital Nights. This exhibition gathers two works in which the artist uses resources offered by the internet . Titled Googlegrams and Reflectograms, these works propose to reflect on the importance and increasing use of images, the proliferation of artists, as well as the potential for broadcast and viral dispersion, all of which are growing exponentially with the use of social networks.
With Googlegrams Fontcuberta constructs contemporary iconographic compositions using the browser Google. Close up, it can be appreciated that these compositions are made up of a mosaic of thousands of images, thematically related with the resulting composition. In the exhibition viewers can create their own compositions and incorporate them in the exhibition through a projection.
Reflectograms collects from the internet self-portraits by people taking their own picture in the mirror, for uploading to and spreading among social networks. It consists of an overlaid projection of specular self-portraits which transforms the exhibition space, through the confluence of multiple projections, into a saturated stage where a spectacle of overflowed subjectivity occurs. The viewers can add their portrait to the exhibition with a camera and software provided on the premises.
Joan Fontcuberta considers there are two types of photographs, decorative, and those that” make you think “. From his earliest works he has chosen the second kind. And as he said in his recent lecture included in the cycle Digital Nights in Vic, but thinking of what?. This is the challenge and the starting point of each of his works, to articulate a set of images that drive the viewer, observer or user towards certain subjects in order to question, discuss or simply reflect upon them.
When the images multiply and multiply, the reflections must be considered from the outset of a significant sample. In this case the Internet is the media and the message. A multiplier media and a message that sometimes reaches us filtered (in the case of Google) or saturated (in the case of social networks). Our view is conditioned by these mechanisms. An image can make us think. The multiplication of images does not make us think harder in proportion to number. On the contrary, it stuns and intoxicate us.
The artist places us in front of a mirror in which a reality saturated with visual information is reflected, a subversive way to exercise social control . The excess of information drives away our capacity to concentrate, to reflect, to think. This is one of the subjects consider in the exhibition. Fontcuberta explains other subjects and relationships in the following texts:
TRANSDUCERS. Networked Collective Education
TRANSDUCERS. Networked Collective Education
Relational Archive [Exhibition-archive] + Pedagogical Laboratory [Workshop and Resources Centre] Project directed by Antonio Collados and Javier Rodrigo
From October 1st to November 28th 2010. Opening 1st October, 7.30pm ACVic. Centre d'Arts Contemporànies. C.Sant Francesc, 1 08500 Vic T. +34 938853704
Transducers. Networked Collective Education aims to present the practices and materials shown in the archive in the form of an educational laboratory placed in ACVic Center of Contemporary Arts. To this end, TRANSDUCERS. Networked Collective Education organises around three points:
- The presentation of four case studies included in the project's archive.
- The creation of a resources centre for gathering documents, publications and a programme of videos à la carte .
- An open workshop "Strategies for territorial work”
The goal is to build the contents of the project in collaboration with several local networks and initiatives .