→Public program←

  • << Nov 2017 >>
    MTWTFSS
    30 31 1 2 3 4 5
    6 7 8 9 10 11 12
    13 14 15 16 17 18 19
    20 21 22 23 24 25 26
    27 28 29 30 1 2 3
  • UPCOMING EVENTS

  • BAR project

    • Eva Rowson. How to imagine una musea?

      Un programa pública experimental que intenta imaginar el museo desde una practica transfeminista

      ‘Cómo imaginar una musea?’ takes place en several momentos during November 2017 in espacios diferentes across Barcelona siguiendo una logica anti-institucional. Este proyecto quiere imaginar una institución museística como una institución femenina, basada en multiple ejes: hospitality, work, collaboration, embodied knowledges, practice, economics, and administration. Esta posibilidad de ficción will help us to feel and think different ways to work and move in cultural institutions. We will imagine a nuevo institucional and how she, la musea, operates, cares, moves, sounds, opens…La musea abre solo cuando sus habitantes pueden visitarla, está absolutamente enmarañada, intrincada con la vida de sus visitantes. She adjusts to our movements and our lives. The programme of la museatakes place in several espacios diferentes, porque musees un museo entendido como un programa público y no como un espacio físico. She moves to where we need her to be. She has a structure but she doesn’t bend to expectation. She invites you all.


      La musea: How does she keep it going

      Sunday, November 12th 11a.m – 2:00 p.m, Espai nyamnyam

      Co-hosted by Eva Rowson, nyamnyam and Priscila Clementti
      An introduction to fermentación and ‘The Second Seasonal Political Palette’, un libro de cocina and document of the Bloodroot Collective, a self-sustaining feminist restaurant (1970-present, USA). Te invitamos to ferment, cook, and read with us para compartir prácticas y estrategias for keeping the collectivity, energies and economics in our work going.
      With thanks to Andrea Francke and Kim Dhillon, and to Bloodroot Collective, for sharing ‘The Second Seasonal Political Palette’.

      La musea: How does she sound and feel and move?
      Thursday, November 23rd 6.30p.m – 9.00 p.m, Fundació Antoni Tàpies

      Co-hosted by Ariadna Guiteras, Eva Rowson, Jordi Ferreiro, nyamnyam, Priscila Clementti and Sonia Fernández Pan
      “You have one room in your house exclusively owned by men. The room is your own: How are you going to furnish it? How are you going to decorate it? With whom are you going to share it and upon what terms?” – Virginia Woolf, ‘Professions for Women’ (1931), quoted in Céline Condorelli, ‘The Company She Keeps’ (2014)Gathering references from Céline Condorelli, Virginia Woolf, Ursula K. Le Guin, astrology, and fermentations from la musea’s previous event, we invite you to join us to re-arrange and set the terms – and the furniture – of the museum in a collective imagining of la musea, inside il museo.


      La musea: She said ‘in a cloud of cigarette smoke, the workers are talking about love’

      Tuesday, November 28th 8:00 p.m- 11:00 p.m, Carrer del pou de la figuera 16 baixos, Barcelona

      Co-hosted by Adrian Schindler, Caterina Almirall, Eulàlia Rovira, Eva Rowson, Gianmaria Andreetta and Yvonne Carmichael
      In this space, which is still forming, we’ll discuss the structures we have the possibility to build, the hospitality we want to practice – and how to shake an espresso martini. The evening begins with a screening of ‘School Without End’ by Adriana Monti (1983), which documents the ‘150 Hours Courses’ – an educational experiment in Italy in the 1970s. The courses were not intended to improve productivity at work, but to allow for personal and collective growth. For the women attending, the course also provided an important ‘room of their own’ in which to share their experiences with work, emigration and discrimination.
      The film is shown with permission from Cinenova, a non-profit organisation dedicated to distributing feminist films and videos: www.cinenova.org. It is in Italian, with English subtitles

      This public programme will be mostly led in English, but we will help each other to translate and shift between English and Spanish. Events are open to everyone but places are limited so it’s important to let us know you are coming. To join in one or all of the events, please enviar un email to Eva: eva.rowson@googlemail.com

      Esta programme is organizada by BAR resident Eva Rowson, developed through exchanges with BAR project during her residency September – November 2017 and within BAR project’s philosophy and curatorial practice of using hospitality as its working method. It is written in ‘Spanglish’ as it has been developed in conversation and collaboration with Adrian Schindler, Ariadna Guiteras, Ariadna Rodriguez, Caterina Almirall, Eulàlia Rovira, Jordi Ferreiro, Priscila Clementti, Simon Asencio, and Sonia Fernández Pan. It is shaped through Eva’s encounters with many others who have swapped books, shared texts and recipes, opened their homes, cooked, been cooked for, listened, talked and danced during her past 3 months in Barcelona: Alba Vilamala, Anna Irina Russell, Adriano Wilfert Jensen, Ainara Elgoibar, Andrea Francke, Andrea Rodriguez Novoa, Ángela Palacios, Ania Nowak, Anna Pahissa, Anne Szefer Karlsen, Antoni Hervàs, Beatriz Cavia Pardo, Bethany Rowson, Pippa Rowson, Claudia Pagès Rabal, Danielle Burrows, David Ortiz Juan, Elida Hoeg, Gianmaria Andreetta, Holly Willats, Hugo Hemmi, Iñaki Alvarez, Isabel de Naverán, Jonathan Hoskins, Juan Canela, Lara Garcia Diaz, Leire Vergara, Linda Valdés, Louise Shelley, Lucy Joyce, Luke Drozd, Marc Navarro, Maria Acaso, Marlene Bonnesen, Michael Lawton, Miren Jaio, Núria Solé Bardalet, Quim Packard, Quim Pujol, Rosanna del Solar, Ross Jardine, Sara Agudo, Sinéad Spelman, Susannah Worth, Usue Arrieta, Veronica Valentini, William Luz, Yvonne Carmichael.

      As a producer and coordinator Eva Rowson ha organizado muchas actividades in institutions, pero como artista tiene una necesidad for nuevos imaginarios and posibildades de actuación related to practices of collaborative projects including FOOD (New York, 1971-74), AptArt (Russia, 1982-84) and her own experience of running parties, bars, club nights, gigs, and a project space inside her living room. The BAR project residency le permite de experimentar con lo formatos, and the contexto de Barcelona, relacionado con la situación politica que esta suciendo ahora mismo where friendship, hospitality and conversation son tan importantes. La estructura de esta institución es como preparar la mesa, Eva sets the table and invites you all, to open doors to serendipias, relationships, and ways to work together.

      Eva would also like to thank The Showroom, London, for making it possible for her to be here.

    • OPEN BAR

      Wednesday 13 September, 7-9pm
      Calle València 72, 4th-3rd, Barcelona

      BAR new residents Simon Asencio and Eva Rowson invite you to inaugurate The Bar.

      The Bar will open its door with cocktails, presentations of sorts by the hosts and liquid encounters to be determined with the guests.

      Eva Rowson (1985, United Kingdom) is an organiser, producer and curator. Her work is organised around questions of how we work together, how we host each other and how we build organisations. She was an associate artist on the pilot year of Open School East and has worked in art collectives including Black Dogs, Bare Plume, Wish you’d been here and The Caged Antelope, and produced projects at big and small organisations including Art Licks, Matt’s Gallery, PEER, Tate and the 2016 Bergen Assembly (Norway). She has run the living room project space 38b since 2010 with Luke Drozd and is currently Programme Coordinator at The Showroom, London.

      Simon Asencio ( b. 1988 France) holds a BA in Soft Sculpture and a MFA from the HEAR- Haute École des Arts du Rhin, Strasbourg, and graduated from SNDO- School for New Dance Development, Amsterdam.
      The practice of Simon addresses invisible choreographies, often using substitution and aporia as means to develop, circulate and present his work. Simon was once told that he was some sort of escort of a new kind. Since 2014, he leads the immaterial gallery Galerie, together with Adriano Wilfert Jensen. He is also a body for Jessica’s works, a protracted performance of real-life background acting and works currently as an editor for ‘The Book of Rumours’. He joined The Army of Love in 2016.

    • Boustrophēdón

      Opening: Tuesday, 20 June, 2017 at 7pm
      Exhibition dates: 21 June – 23 July, 2017
      Fabra i Coats – Contemporary Art Centre, Barcelona
      Carrer Sant Adrià, 20, (Sant Andreu, 08030-Barcelona)

      Tuesday 20 June
      8pm Karaoke Night – Britney sings Deleuze, Tali Serruya in collaboration with Gian Spina
      Tuesday 27 June
      6.30pm The artist Cecile B. Evans introduces her most recent projects and discusses, in dialogue with the BAR TOOLests experiences, on how the work is connected with recent and historical events, as well as the audience itself – in collaboration with Fundació Joan Miró
      7.30pm Who’s the real Julia.Rosa.Angela?, performative casting by Julia Gorostidi
      8.30pm Churrasquiño – Karaoke Night, Tali Serruya in collaboration with Van Holanda

      Towards the 3rd century BC the Greeks began a particular method of writing in which the lines run from left to right and from right to left, or vice versa. Known as boustrophēdón, it literally means “the way of turning or ox turning”, referring to the movement of this animal when plowing a field. Its precise usefulness is unknown, but it seems that it take maximum advantage to the the writing surface in tablets and knobs; although it certainly also offered a different mode of reading, which broke the usual unidirectionality.

      The essay exhibition Boustrophēdón presents projects by Julia Gorostidi, Tali Serruya, Enea Palmeto, Alejandra Avilés and Ibai Hernandorena, and includes questions relating to producing and inhabiting indefinite and adjoining spaces, analysing or assaying lateral movements, creating spontaneous moments of coming together, rethinking the shape of identity in the contemporary world and pushing daily situations to the limit.

      The different projects form an open and organic framework in which the common interests are interwoven, as in the differences that have appeared during eight months of connivance, and which now take shape in an exhibition space. Boustrophēdón works as the final exercise of BAR TOOL #0, a practice-based training programme curated by BAR Project. Following a period of common work, study and practice, in a context of professional and human exchange, this moment is not a decisive end but the start of a new chapter in which the practice of each participant enters once again into dialogue with that of the others.

    • Valerio Del Baglivo: FORMS OF ECLIPSE, Lee Lozano

      Saturday May 27th, 8.30pm
      Calle València 72, 4th-3rd, Barcelona

      Curated by Valerio Del Baglivo
      With Equipo Palomar, Anna Dot, Laia Estruch, Supterranis

      Forms of Eclipse are a series of events curated by Valerio Del Baglivo, evoking the work of artists who have decided to temporarily or permanently wi­thdraw from the art-system, converting this decision into a single art piece or even into a continued and well-organized art-practi­ce. In the respect of these decisions and with the intent of publicly remembering them, Forms of Eclipse simply evokes these acts proposing a series of talks to be held on the exact dates of these art-withdrawals. What might we learn from these artists’ deployment of a work as a practice of withdrawal? How do these acts of withdrawing offer us means affecting an undoing of the regime of art production? And how does the practice of withdrawal may let the artist’s body survive or sublimate? These and other questions are at the base of Forms of Eclipse.

      At the conclusion of his residency at BAR Project, curator Valerio Del Baglivo proposes to remember the work of artist Lee Lozano. In 1967 Lee Lozano started making instruction pieces that influenced drastically her behaviour within the artworld and gradually drove her to not speak with women anymore and later to quit the artworld. These pieces, together with comments and personal considerations, are transcribed on her famous notebooks whose pages are occasionally sent to friends, as a form of newsletter. At the centre of her work are themes like the patriarchal hierarchy of the artworld, women sexuality and identity, process and duration.

      On May 27, at a distance of 48 years from Dialogue Piece (a key work by Lee Lozano for which she invited famous artists to engage in one-to-one conversations at her studio), a group of art practitioners will celebrate the practice of the American artist and the salient decisions that gradually led her to abandon the artworld. Playing homage to Lozano’s intention to create occasion for interpersonal exchanges, curator Valerio Del Baglivo will engage the audience in one-to-one conversations discussing the practice of Lozano. At the same time artists Anna Dot, Equipo Palomar, Laia Estruch Mata and collective Supterranis will contribute with actions and performances exploring notions such as disappearing, language articulation and redundancy, forms of personal transformation.

       

      Program
      9pm
      Introduction & welcoming by Valerio Del Baglivo, BAR Project curator in residency.

      9.30pm
      Equipo Palomar
      SPECIAL LIGHTING FOR PAINTING SHOW PIECE (ENCORE)
      In line with other art-pieces aimed at remembering marginal figures, El Equipo Palomar will conduct a series of short readings of Lee Lozano famous notebook instruction pieces. The reading will be intermixed with other artists’ pieces and accompanied by little interventions with the purpose of creating a rhythmical and progressive modification of the space.  

      10pm
      Laia Estruch Mata
      YOU WON’T KICK ME OUT, I’LL LEAVE WHEN I LIKE
      Sharing publicly a personal negative anecdote, Laia Estruch plays homage to Lee Lozano and her belief of pursuing personal and public transformation, with a new voice performance. Emphasizing once again the relationship (very dear to Lee Lozano as well) between text and spoken language, the piece discusses feelings of unpleasantness, uncomfortability, shame and frustration within institutional framework.

      10.30pm
      Equipo Palomar
      SPECIAL LIGHTING FOR PAINTING SHOW PIECE (ENCORE)

      11pm
      Anna Dot
      INTERNATIONAL STANDARD WHITE NOISE
      With the help of the audience, Anna Dot will attempt to produce a “white noise”: literally a noise made up of all possible sounds and in which all acoustic signals are indistinguishable from each other. Perhaps suggesting a way to disappear into an inarticulate sound and in sync within each other, the piece explores language redundancy and polyphonic relations.

      11.30pm
      Equipo Palomar
      SPECIAL LIGHTING FOR PAINTING SHOW PIECE (ENCORE)

      Along the night, Barcelona based collective Supterranis will engage the audience through informal conversations on how to let one’s identity disappear into a collective entity, fake biographism, fictional artists and art-production interruptions, with their piece titled Talk Together Piece: books, comics, music and videos will be display to trigger conversations.

      At the same time, curator Valerio Del Baglivo will occupy a room engaging the audience in one-to-one reading and conversations about Lee Lozano notebooks instruction pieces.

      Food and drinks will be provided.

      GIF by ©markbohle

      Equipo Palomar
      El Palomar is a diversified co-authoring project. Directed by Equipo Palomar (a collective composed of Mariokissme and R. Marcos Mota), it always looks for collaboration with other artists and cultural agents who work from the experience of dissidence in terms of identity and sexuality. To gradually create a cross-border community, we work towards visibility and shared learning, claiming the place that belongs to us in the diversity of democratic representation and the right to one’s own life.
      Highlighting some of their latest solo projects, No es homosexual simplemente el homófilo sino el cegado por el falo perdido (La Capella, 2016), Hedonismo crítico (Fundació Joan Miró, 2016), Fons armari i figura per Ismael Smith (Museu Nacional/Sala d’Art Jove, 2015), or collective on Centro Párraga (2016), Es Baluard (2017), SOS 4.8 (2014), Biblioteca MNCARS (2016), galeria Àngels Barcelona (2015).

      Laia Estruch
      Born and based in Barcelona, her work is mostly performance-based. Her artistic proposals feature voice and word as a space of experimentation. Estruch has presented her projects, among other places, at Macba, Rita McBride’s Blind Dates, JIngle, (Barcelona, 2012), Fabra i Coats, This is Not an Art Show, Either, ‘65’, (Barcelona, 2013), JuneFirst gallery, Jingle, (Berlín, 2014) Fundació Antoni Tàpies, Interval, Accions sonores, /fu:d/, (Barcelona 2015), Fundació Joan Miró, Album Victòria, (Barcelona, 2016), Antic Teatre, Moat (Barcelona 2016), Artistas en Residencia 2017, Moat, (La Casa Encendida and CA2M).

      Anna Dot
      Anna Dot is artist and researcher in the Translation, Interpreting and Applied Languages Department ​​at the University of Vic. Her artistic practice is presented as a methodology to investigate issues related to cognitive processes and the transmission of power through language. Currently, writing and performance are fundamental elements of her work processes, as can be seen in her most recent projects Until I am no longer able to stand (La Capella, Barcelona, ​​2016) and S’amagaven darrere els arbres ( Walter Benjamin Route, Portbou, 2016).

      Supterranis
      Supterranis is a non defined collective that allows a diverse group of artists and curators to work together and experiment around art formats and process; theory, production, education, curating, etc. Based in Barcelona, the most know project from Supterranis has been the three editions of Festival Plaga: artistic proposals in non artistic or legitimated places.
      Supterranis took part of the exhibition Co-habitar entre at Fabra i Coats 2016, also hosting a serie of talks and interventions around the ideas of production, emotions and collaboration at the same institution; Fabra i Coats. In 2014 Supterranis collaborated with a performatic lecture at El temps invertit, exhibition curated by Irina Mutt, Can Felipa Arts Visuals 2014.

      Valerio Del Baglivo
      Valerio Del Baglivo is a freelance curator, educator and perennial collaborator based in Turin. Collaborative research, alternative education, fiction and storytelling play a continuing and vital role within the methodology and interests of Valerio Del Baglivo. He attended Curatorlab, an independent curatorial course, at Konstfack University (2011), and is now completing a PhD Programme at Middlesex University with a research focused on public engagement and experimental pedagogy in self-initiated art institutions. Since 2012 he has curated exhibitions and projects for organizations such as, Apexart – NY, Kunstverein – Milan, Konsthall C – Stockholm, Kunsthalle Exengrasse – Vienna, Azkuna Zentroa – Bilbao,  among others. He is currently co-curate with artist Ludovica Carbotta The Institute of Things to Come a ten-months season of exhibitions and workshops at Fondazione Sandretto Re Rebaudengo – Turin – on how artists imagine future scenarios.
      He is a member of IKT – International Association of Curators of Contemporary Arts.

    • Ina Hagen: Round Robin Reveries (Gathering for the other magic fountain, Barcelona)

      Tuesday 16th May, 7pm, Passeig de Santa Madrona, 19

      The project takes place in the duration of an hour, around a remote fountain in Passeig de Santa Madrona on Montjuïc. A local network is set up on site, which has a chatroom and an archive for digital files, which people will access from their devices. Referring to the method called Round robin, the chatroom will be used for a real-time, anonymous deliberation and debate with the fountain as conceptual, historical and physical center, guided by a text performance. Everyone is asked in advance not to communicate orally during the session. The project includes contributions by other, Barcelona based artists on the topic Ressurection/Gathering. Sitespecifically or otherwise. The session ends when the fountain is shut off at 8pm.


      Thematically, Hagen’s interest goes to (internet)forum culture and the ways it effects other spheres of our existence, beyond the digital. She thinks of the project as a way of channeling specifics from the history of the site: both the figure of Santa Madrona, the political history, and the patterns of collective behaviour in the space.

      Hagen has tried to combine these interests into the theme Ressurection/Gathering, reflects on how histories repeat, with an emphasis on intuition, premonition, an alternative knowledges. To her, ressurection stands for a need for an altered state of something already passed, in this case a reflection on the potential of the digital without corporate interference. Gathering refers of course to being together, coming together or collecting materials. Together they, by association, describe an activity of sorts, a ritual. 

      Another level of research on site has been the social interaction that already exist around the fountain. Single men appear to be waiting, silently standing around in the bushes. They check their phones, write something, pace a little, then wait. The only conclusion she can draw from this is that it is some kind of cruising site perhaps. What interests her immensely with this is that there is an interaction in this space between these men that exists without spoken words, but in the digital. To honour this code, and to explore what it does to our social interaction, I want people to refrain from speaking while still being in the same, rather intimate space, for a whole hour. 

      Hagen’s interest is in the act of being together as bodies in space and as a collective, digital consciousness at the same time. Everyone remains anonymous on the chatroom, disconnecting us from physical markers of individuality, to some extent. The focus or ‘question’ on site is the fountain itself, and the conversation and contributions happen in the chatroom and in the archive. Through the hour we try to engage with the fountain as such a ‘question’. How do we derive at a conclusion from a question that is a material, a movement and a place in history? What kind of conclusion would it be and how can it be expressed? I want to explore group thinking that is not compatible with end-result thinking, the image of which is the fountain with it’s endless circulation of water for no clearly definable purpose beyond it’s signification. The word Reveries also refer loosely to this.


      A round robin is essentially a method of decision-making and brain storming together in a group. People sit in a circle and contribute equally to the topic of discussion, often a focused center or question. Written contributions are often made anonymous. Other meanings: 

      A round-robin story, or simply “round robin,” is a type of collaborative fiction or storytelling in which a number of authors write chapters of a novel or pieces of a story, in rounds. Roundrobin novels were invented in the 19th century, and later became a tradition particularly in science fiction. In modern usage, the term often applies to collaborative fan fiction, particularly on the Internet, though it can also refer to friends or family telling stories at a sleepover, around a campfire, etc. 

      Round-robin is a document signed by multiple parties in a circle to make it more difficult to determine the order in which it was signed, thus preventing a ringleader from being identified.[1] 

      Long before those contemporary meanings were known of, the term Round Robin had been used to refer to a variety of things. The earliest use was as a disparaging nickname, along the lines of ‘sly dog’ or ‘dark horse’. 

      A round robin network, or wireless mesh network (WMN) is a communications network made up of radio nodes organized in a mesh topology. It is also a form of wireless ad hoc network.[1]

       The reference to the site as the “other magic fountain” establishes a relationship between the one at Passeig de Santa Madrona, and the famous Magic Fountain of Montjuïc. By labelling it “other” there is a hierarchy in place on this site, which is not spoken but clearly exists. The two fountains exemplifies this hierarchy of significance and visibility beautifully I think. This to the artist, the gesture of making this relation clear through language puts in place an insistence on the validity and charm of the smaller fountain, while pointing to radically different world views, points in the history of Barcelona, and ways of relating to the world around us.

       

    • [Bio] Florencia Portocarrero

      (Lima, 1981) is a researcher, writer and independent curator. She obtained her BA in clinical psychology at the Pontifical Catholic University of Peru, where she also received her MA in Psychoanalytical Theory. During the 2012/2013 Portocarrero participated in de ‘Appel Curatorial Programme’ in Amsterdam and recently she completed a MA in Contemporary Art Theory at ‘Goldsmiths University’ in London, where she graduated with honors. Portocarrero regularly collaborates with the international contemporary art magazine Artishock and has contributed with her writings on art and culture in numerous catalogues and publications. In Lima Portocarrero is co-founder and co-director of the independent art space ‘Bisagra’ and works as public program curator at ‘Proyecto AMIL’. Curated exhibitions include: El Estado de Ficciones at the Spanish Cultural Center in Lima (2010), Animales Históricos at Corriente Alterna Art School of Art and Design (2012), La Tiranía de la Intimidad at the Spanish Cultural Center in Lima (2012), Bourgeois Leftovers at the ‘de Appel arts centre’ in Ámsterdam (2013), Ornamento y Sistema at Wu Gallery (2013), ¿Y qué diría el mar?-Noche de Arte Contemporáneo Sura (2014), Exposición de Arte Abstracto at the French Institute in Lima (2014).

    • [Bio] Mónica Restrepo

      (Bogotá, 1982) lives and works in Cali (Colombia). She studied at the Fine Arts School in Cali and participated at the Postgraduate program in the Fine Arts school in Lyon and the Homework Space Program in Beirut. Among her recent exhibitions: Surface Matters, Glassbox (Paris); Flor o Florero, Galería Jenny Vilá (Cali); Room for doubt, ICSP (New York); 10th Mercosur Biennial (Portoalegre); M/Other Tongue, Tenderpixel gallery (London); Moucharabieh, Triangle (Marseille); ArcoColombia (Arco Madrid); Markers 2015, Art Dubai; Ella estuvo aquí, Galería Jenny Vilá (Cali); Las cosas en sí, Museo La Tertulia (Cali); El diablo probablemente, Fundación Misol (Bogotá). Her work is based on documents and banal stories, that she uses as arguments to create absent images where conflicts contained in them start to appear. She has worked around the idea of performative document experimenting with craft materials such as clay and immaterial medias such as performance, video, text.

    • [Bio] Sojung Jun

      (South Korea, 1982) received a BFA in Sculpture from Seoul National University and an MFA from Yonsei University. She is known for her video and per­for­mance art­works. Sojung Jun has been intrigued by the con­cept of time and the repet­i­tive expe­ri­ence of emo­tion in our life. She takes the life sto­ries of indi­vid­uals she comes across and retells them as part of her work through stage plays, per­for­mances and nar­ra­tives using ancient texts as ref­er­ence. One of her solo exhi­bi­tions, One Man Theater, which was shown in Sungkyun Gallery in Seoul in 2009, demon­strates Jun’s interest in pro­ducing a series of related shots that con­sti­tute a com­plete unit of action. In her series Daily Experts, ongoing since 2009, she seeks to mull over life and art by con­fig­uring the exclu­sive tempo, lan­guage, colors, sounds and editing for video works in an inte­grated manner.
    • [Bio] Mónica Restrepo

    • Supersimétrica

      Chamberí Metro Station (Andén 0)
      23-25 February 2017, Madrid

       

       

      BAR project participates in Supersimétrica showing toolests proposals, the five participants of the new practice-based training program BAR TOOL #0 2016-2017, articulated around research, production and presentation processes.

      Tali Serruya y Ibai Hernandorena, “Cada vez son más los artistas que sueñan con hacerse ricos y que pueden enriquecerse. Es aquí donde la caída comienza”, 2017. 10 posteres, 70 x 100 cm.
      The work “Cada vez son más los artistas que sueñan con hacerse ricos y que pueden enriquecerse. Es aquí donde la caída comienza”  its formed by pieces of the same phrase and the declined image in a pop aesthetic of the same brick. The piece questions the relationship between quantity and quality, visibility and profitability, as the production and reproduction concept. The vertical image of the brick fixes the dizziness hanging, the moment before the fall.

      Enea Palmeto, “Hi Ricky Fitts”, 2017. Plastic bags dispenser for artists. Help yourself. – It was one of those days when it’s a minute away from snowing and there’s this electricity in the air, you can almost hear it. Right? And this bag was just dancing with me. Like a little kid begging me to play with it. For fifteen minutes. That’s the day I realized that there was this entire life behind things, and this incredibly benevolent force that wanted me to know there was no reason to be afraid, ever. Video’s a poor excuse, I know. But it helps me remember… I need to remember… Sometimes there’s so much beauty in the world, I feel like I can’t take it, and my heart is just going to cave in – Ricky Fitts – American Beauty (1999).

      Julia Gorostidi, http://rosalanara.tumblr.com/…/volver-a-escribir-madrid-mi-…

    • [Bio] Valerio Del Baglivo

      is an independent curator, educator and perennial collaborator based in London. He attended Curatorlab, an independent curatorial course at Konstfack University (2011), and is now completing a PhD program at Middlesex University with research focusing on public engagement and experimental pedagogy in self-initiated art institutions. He was the curator at the Isola Art Center in Milan between 2009-10, an independent art space that combines contemporary international-level practices with the needs and desires of a working-class neighborhood affected by gentrification processes. In recent years he has promoted public programs that seek to understand whether the combination of events centered on education – such as lectures, lectures, workshops – with elements driven by performance can favor innovative and participatory curatorial approaches. In 2017 he will start with the artist Ludovica Carbotta the Institute of Things to Come, a ten-month season of exhibitions and workshops at the Fondazione Sandretto Re Rebaudengo in Turin, focused on how artists imagine future scenarios.

    • [Bio] Dorothée Dupuis

      curator and editor. Her practice focuses mainly on the intersection of the arts and politics, influenced by feminist, Marxist and postcolonial theories. Dupuis is Terremoto.mx magazine founder, based in Mexico City, where she currently works as director and editor. She is also co-director of the feminist magazine Petunia with Lili Reynaud Dewar and Valérie Chartrain.

      Dupuis holds a MFA of HEAR (Superior School of Arts of Rhin) in Strasbourg (2005).
      She worked for Philippe Parreno in 2005, mostly in Zidane: A 21st Century Portait film. She was curator assistant at Georges Pompidou Center between 2005 and 2007, working with Christine Macel in the exhibitions Dionysiac  and Airs de Paris [5] [6]. In 2006 in Paris, she co-founded Le Commissariat, being active member since 2010. She was Triangle France director, a non-profit exhibition and a residence program in Marseille, France, from 2007 to 2012.

      Among her recent exhibitions we can find: Cada vez que encuentro la muerte pienso en ti: Emmanuelle Lainé, IFAL, Mexico City, 2015; Cronotopo: Mariana Castillo Deball, cocurated with Oliver Martínez-Kandt, MRAC Sérignan, 2015; Moucharabieh, co-curated with Céline Kopp and Sandra Patron, Triangle France, Marseille, 2015; Libre circulation de capitaux symboliques, Galerie Loevenbruck, Paris, 2014; Act so there is no use of a center: (de)centering contemporary art in the digital age, panel discussion, Fahrenheit, Los Angeles, 2014; Yesterday: Renaud Jerez, Lodos, Mexico City, 2014; La Start-Up, Les Ateliers des Arques, Lot, 2014; 3⁄4 Lifestyle, 150% Volume, Treize, Paris, 2014. Dupuis writings have been published in several catalogues and art publications and she is usual collaborator in Flash Art (Milán), Spike Art Daily (Wien) and Crash Magazine (París).

    • [Bio] Gelen Jeleton

      Develops her artistic practice with Jesús Arpal Moya in Equipo Jeleton* since 1999. She studied Fine Arts in the University of Cuenca and graduated in the Department of Drawing of the Faculty of Fine Arts in Barcelona in Symbolism Renaissance and Alchemy. She moves this knowledges implementing them to her doctoral thesis project Una Archiva del DIY: self publishing and self management in a fanzinoteca feminist-queer, presented in Murcia in February 2016. Between 2014 and 2015 she moved to Mexico, on the occasion of her research, for a stage at PUEG in UNAM (National Autonomous University of Mexico) where she was involved in Mujeres en Espiral project in charge of fanzines edition as Leelatu#1 y Leelatu#2: trabajo en el penal de mujeres de Santa Martha Acatitla, which she is still involved.

      Interested in the translation as a performative action and visibility, her intention is to create a research group about self-publishing and self-management of femzines which it’s geopolitical axiss comprise Latin America and Spanish State.

      Using the music and drawing as empower languages, the narrative of singed poetry coreographying in the drawing. Highlighting the bibliography, archive and academic quote decolonization embodying the theory through the feminisms and artivism. I suggest an iconologic study from the image sociology, a deconstructed mythopoesis from the selfstory, a biomithography and the counter-visualities from the observation and localization of the continuous screams in placards, t-shirts, tattoos,…on the streets.

      Publishing temporary results in projects as Historia Política de las Flores (Jeleton) about the flower symbolism as a political language.

      * Jeleton is a team to operate in iconographic, literary, musical repertoires. To propose self-taught practices and the publication of provisional results for the debate. To take the authorship to inexperience situations, humor, appropriation. To disperse the results in space, time and distribution channels, making it difficult to deactivate them by the presentation context.

    • Curator talk: Inés Katzenstein, Dorothée Dupuis and Gelen Jeleton

      Monday 27th February, 7pm
      Aula 0, MACBA, Barcelona

       

       

      A public conversation among the director of Terremoto art magazine (MX) Dorothée Dupuis, the director of Instituto Torcuato di Tella de Buenos Aires, Inés Katzenstein and the artist Gelen Jeleton.

      Dorothée Dupuis (1980, Paris) curator and editor. Her practice focuses mainly on the intersection of the arts and politics, influenced by feminist, Marxist and postcolonial theories. Dupuis is Terremoto.mx magazine founder, based in Mexico City, where she currently works as director and editor. She is also co-director of the feminist magazine Petunia with Lili Reynaud Dewar and Valérie Chartrain.

      Inés Katzenstein Director founder of Art Department of Torcuato Di Tella University. She received a master’s degree from the Center for Curatorial Studies, Bard College, New York (2001), where she studied with an Antorchas Foundation and the National Fund for the Arts grant. She wrote extensively on contemporary art and curated exhibitions such as “Liliana Porter: Photography and Fiction” (Centro Cultural Recoleta, Buenos Aires, 2003), “David Lamelas, Foreigner, Foreigner, Ètranger, Aüslander” (Museo Rufino Tamayo, Mexico, 2005) and co-curated “Televisión, El Di Tella and an episode in the life of TV” (Espaço Telefónica, 2010), among others. She is part of the Advisory Board of Otra Parte de Artes y Letras magazine, and of the Advisory Council of Museo Malba.

      Gelen Jeleton (Murcia, 1975) developes her artistic practice with Jesús Arpal Moya in Equipo Jeleton since 1999. She studied Fine Arts in the University of Cuenca and graduated in the Department of Drawing of the Faculty of Fine Arts in Barcelona in Symbolism Renaissance and Alchemy. She moves this knowledges implementing them to her doctoral thesis project Una Archiva del DIY: self publishing and self management in a fanzinoteca feminist-queer, presented in Murcia in February 2016.

      * Jeleton is a team to operate in iconographic, literary, musical repertoires. To propose self-taught practices and the publication of provisional results for the debate. To take the authorship to inexperience situations, humor, appropriation. To disperse the results in space, time and distribution channels, making it difficult to deactivate them by the presentation context.

    • [Bio] Daisuke Kosugi

      Artist and filmmaker based in Oslo.

      He studied law and political science at Rikkyo University in Tokyo and worked as a risk consultant at an insurance company in Japan for several years. After moving to Oslo, he graduated in Fine Arts from the National Academy of Arts in Oslo. His work was shown at the 11th Biennale of Gwangju (2016) and Malmö Konsthall (2016), CPH: DOX (2017), among others.

      In 2017, Kosugi will spend nine months residing at WIELS Contemporary Art Center in Brussels.

      website

    • Manifestaciones Públicas de Afecto (Publication)

      Manifestaciones Públicas de Afecto is a digital publication that reclaims the importance of incorporating an affective dimension to the public sphere that psychoanalysis and feminism have historically made; investigating its possibilities to function as a space of resistance against the policies of neoliberal subjectivation. Avoiding idealizations and recognizing that affects can also have a normalizing function, the publication brings together texts and visual interventions by artists and researchers in whose practice the affective experience emerges as the basis of critical analysis: Valentina Desideri, Andrea Francke, Valeria Graziano, Gelen Jeleton, Mathew de Kersaint Giraudeau, Esther Planas and Florencia Portocarrero.

      Manifestaciones Públicas de Afecto has been edited and produced by Florencia Portocarrero in collaboration with Verónica Valentini, Juan Canela and Andrea Rodríguez Novoa (the BAR project team) as a result of The Right to Be Unhappy: on the politics of control of human behaviour and psychotropification of society; the Bar project spring residence program during 2016.

      Download PDF

    • BAR International Symposium*: “Making Public Program”

      20-24 March 2017

      With: Eva Rowson (Showroom, London), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (Capacete, Rio de Janeiro), Elise Lammer (SALTS, Basel), Daniel Blanga-Gubbay (Aleppo, Brussels), Karima Boudou (Appartement22, Rabat), Equipo Palomar (artists, Barcelona), Josep Maynou (artist, Berlin), Florencia Portacarrero (curator, Lima), Kroot Juurak & Alex Bailey (performers, Wien), BAR TOOLests (Julia Gorostidi, Tali Serruya, Enea Cabanes, Alejandra Avilés, Ibai Hernandorena) & BAR spring residents: Valerio Del Baglivo (curator, Rome), Daisuke Kosugi & Ina Hagen (artists & founders of Louise Dany artist run space, Oslo).

      Drinking while walking while hosting while thinking while making together is the leitmotiv of BAR project, who takes its name from the popular and social gathering place in south European culture in order to recontextualize it, and be able to work and practice (reflection-in-action) in a flexible, informal and critical way. This working condition and status goes beyond the bar extending curatorial practice into working on public realm and takes the city of Barcelona as a public project space.

      At the center of BAR project’s curatorial effort the Public Program operates as a transversal yet autonomous space responding to concerns about its own practice: delve into the public realm today; give room to gathering, discussion and reflection spaces; promote a dialogue with the immediate context and beyond it. BAR project stands for a public program to take place in spaces of diverse nature, aiming to provoke unexpected relationships and challenge audiences. In this regard, the different activities BAR project has organised to date have happened in galleries, non-profits, institutions, along with bars, car garages, libraries or the public space.

      The BAR International Symposium “Making Public Program” consists in an intensive week of working groups, roundtables, actions, My studio visit, Walking tour, performances and drinks to celebrate BAR project 2013-2017 Public Program and reflect on the past, present and future of what public programing means. A number of guest practitioners will spend a whole week in Barcelona in order to discuss and perform together on the topic; the output of that brainwork will be made public and opened to the participants of the symposium and to a larger public through the various activities building the symposium.  

      The symposium program will be articulated as follows:

      Monday to Wednesday mornings will be devoted to closed working sessions on “Making Public Program” among guest speakers and BAR team at Fabra i Coats Art Factory. In parallel to this, the registered participants will take part in The Walking Tour, comprising visits to galleries, independent spaces and institutions in and around the city of Barcelona. In the afternoon round tables lead by one of the guests will offer the participants a disclosed space for reflection and discussion. Monday evening will be liven up by the legendary BAR Welcome vermouth, offered at mitico Armando´s. Thursday morning will start with My Studio Visit. The city as studio, in which a local artist is commissioned to give a visit to a special location in Barcelona in order to speak about his/her practice through the city and out of the common studio space. On this occasion artistic collective Equipo Palomar invites us to Estruch 24-26, 3° 1ª, an action focusing on the figure of Alberto Cardin, an outstanding writer, anthropologist and LGBT activist, emphasizing his early death in 1992 due to AIDS, the relationship between the Spanish political transition and the disease, as well as the city’s tourist-urbanistic speculation. The day will continue at Tàpies Foundation. In the early afternoon Kroot Juurak & Alex Bailey will develop their Workshop for Humans (informative workshop to learn the tricks and tips of Performance for pets previously carried out in private home), later on most of the guest speakers will contribute to a fourth and final round table, open to the general public this time. The culmination of the day will come with the BAR Party, celebration of BAR project fifth birthday, held at the Tapies Foundation rooftop with a live show by Josep Maynou as guest artist.

      Along the four days, the participants of BAR TOOL#0 training program will ‘rehearse’ on public appearance in different places and afterwork moments.

      Friday will be the time to carry out studio visits with local artists.

      * (in ancient Greece, the symposium meant “to drink together”)

      SYMPOSIUM PROGRAM

      20th March
      4-6,30pmMaking Public Program” round table, Auditorium, Tàpies Foundation
      Elise Lammer (SALTS, Basel), Karima Boudou (Appartement22, Rabat), Equipo Palomar (artists, Barcelona) & Daisuke Koisugi & Ina Hagen (artist & founder of Louise Dany artist run space, Oslo) & Florencia Portacarrero (curator, Lima) will present Manifestaciones Públicas de Afecto, publication of BAR project residency 2016
      7pm onwards Intervention by Enea Cabanes (BAR TOOL#0)
      BAR Welcome vermouth

      21th March
      4-6,30pm “Making Public Program” round table, Auditorium, Tàpies Foundation
      Eva Rowson (Showroom, London), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires) & Valerio Del Baglivo (curator, Rome)
      7pm onwards Intervention by Julia Gorostidi (BAR TOOL#0)

      22th March
      4-6,30 pm “Making Public Program” round table, Auditorium, Tàpies Foundation
      Leire Vergara (Bulegoa, Bilbao), Daniel Blanga-Gubbay (Aleppo, Bruselas), Helmut Batista (Capacete, Rio de Janeiro) & Veronica Valentini, Andrea Rodriguez Novoa, Juan Canela (BAR project)
      7pm onwards Interventions by Ibai Hernandorena and Tali Serruya (BAR TOOL#0)

      23th March
      11am-1pm My Studio Visit. The city as studio:Estruch 24-26, 3° 1ª” by Equipo Palomar (artists, Barcelona)
      5-11,30pm Tàpies Foundation:
      5-6pm “Workshop for Humans” by Kroot Juurak & Alex Bailey (performers, Wien) – separate registration at kulturtier@gmail.com
      7-9pm BAR Public talk “Making Public Program”, Auditorium – open to general publicWith Santiago Villanueva (Mamba, Buenos Aires), Valerio Del Baglivo (curator, Rome), Elise Lammer (SALTS, Basel), Karima Boudou (Appartement22, Rabat), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (Capacete, Rio de Janeiro), Veronica Valentini, Andrea Rodriguez Novoa, Juan Canela (BAR project) and Carles Guerra (Tapies Foundation)
      9-11,30pm BAR party, live show by Josep Maynou (artist, Barcelona), terrace – open to general public

      24th March
      Guided tour at “Ground Control” exhibition, Joan Prats Gallery, by the artist Teresa Solar
      Studio visits with local artists


      Alejandra Aviles, S everywhere

    • BAR module: Summer Guthery & Alfredo Aracil

      Thursday 12th January, 6pm
      Fundació Antoni Tàpies, Barcelona

      Visiting curators Summer Guthery (JOAN, Los Angeles) and Alfredo Aracil (Sala de Arte Joven 2017, Madrid) will talk about their curatorial practice and on-going projects.

      Summer Guthery is a curator and writer based in Los Angeles. She is the founder and director of non-for-profit exhibition space, JOAN, she was curator in LAXART and Performa Bienal 2013 and 2011 curator assistant. She’s Crysler co-founder, a serie of lectures, projections and actions in an office of Chrysler Street in New York. In 2014, was selected curator in residency in Disjecta Art Center in Portland, Oregon, programming exhibitions and acts for 9 months.She received her MA in Curatorial Studies from Bard College’s CCS. Guthery is a regular contributor to Frieze and Artforum amongst other publications.

      Alfredo Aracil is curator at Sala de Arte Joven de Madrid 2017 with the project “Apuntes para una psiquiatría destructiva (Notes for a destructive psychiatry)” which questions production mechanisms of mental disorders, as well as institutions and clinical methods involved in health management. He has collaborated with magazine Nosotros, El cuaderno, Tendencias, LUMIÈRE and now is writing for Atlántica XII and El Estado Mental.

    • BAR module 2017

      bar_module_2015_72dpi_090

      BAR module is an intensive working week which aim to create learning opportunities from different topics and dynamics. As part of BAR TOOL#0 Training Program 2016-2017, the two BAR module sessions, that focus on the politics of control of human behaviour and public programming practice, will be opened to a larger public. Besides of lectures, cconversations and workshops, a selection of guided tours to a comercial spaces, institutionals and independents (The Walking Tour), just as meetings and studio visits with local agents in the city of Barcelona.

      BAR module 20th – 24th March

      BAR International Symposium “Making public program”
      The city of Barcelona, Fabra i Coats Art Factory and Tapies Foundation.

      The symposium (in ancient Greece, the symposium meant “to drink together”) will consist in an intensive week of working groups, roundtables, actions, my studio visit, walking tour and performance to celebrate and reflect on the past and future practice of public programming of BAR project 2013-2017 together with other invited practitioners.

      Invited guests include Eva Rowson (Showroom, Londres), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (capacete, Rio de Janeiro), Elise Lammer (SALTS, Basel), Daniel Blanga-Gubbay (Aleppo, Bruselas), Karima Boudou (Appartement22, Rabat), El Palomar (artistas, Barcelona), Kroot Juurak & Alex Bailey (performer, Wien), BAR spring residents: Valerio Del Baglivo (curator, Roma), Daisuke Kosugi & Ina Hagen (artists & founders of Louise Dany, Oslo).

      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

      BAR module 27th February – 3rd March
      With Inés Katzenstein (AR), Dorothée Dupuis (FR), Gelen Jeleton (SP) and Antoni Hervàs (SP)
      The city of Barcelona, Fabra i Coats Fábrica de Creación & Tàpies Foundation

      “Curatorship before the curatorship in Argentina. Institutionalism and politics, professionalism and marginality, taste and concept”, workshop by Inés Katzenstein (Instituto Di Tella, Buenos Aires)
      A narrative about three capital cultural agents in Buenos Aires, from 1960 to 1995: Jorge Romero Brest (from the Di Tella Institute), Oscar Masotta (intervening critically in the artistic scene), and Jorge Gumier Maier (from the Rojas Center).
      Founding Director of the Art Department at Torcuato Di Tella University, she received a Master’s degree from the Center for Curatorial Studies, Bard College, New York (2001). Among other books, he edited Listen, Here, Now! Argentine Art of the Sixties: Writings of the Avant-Garde, The Museum of Modern Art, New York, 2004. He is part of the Advisory Board of the magazine Otra Parte de Artes y Letras, and of the Advisory Council of Museo Malba.

      “Curating from my uterus”, lecture by Dorothée Dupuis (Terremoto magazine, Mexico)
      Through examples taken from my own curatorial practice and a few others, and relying on theoretical concepts such as the notion of womb-envy by Gayatri Spivak, Walter Mignolo’s frontier thinking, or the post-human of Rosi Braidotti, I will try to prove that feminism is not reduced to an outmoded political dogmatism, it is a broad philosophy that goes further than the question of gender: a prism by which we can observe the world and understand clearly the relations of power and oppression that surrounds it.
      Dorothée Dupuis (1980, Paris) is an independent curator, writer and editor based in Mexico City. She was director of Triangle France (Marseille, 2007-2012). Is founder and editor of Terremoto and co-director of Petunia magazine.Her recent curatorial projects include a residency at PAOS Gdl, Guadalajara, Adrien Vescovi at IFAL Casa de Francia, Mexico DF, and the 30 International Art Workshops at the FRAC Pays de la Loire, Nantes, France. She has written in numerous catalogs and art publications and is a regular contributor to Spike Art Daily, Metropolis M, Mousse, Kaleidoscope, ArtReview, Flash Art and Frieze, among others.

      “Bibliographic resistance”, workshop by Gelen Jeleton (Equipo Jeleton)
      One of the pillars of the Academy is based on the transmission of knowledge, and one of the ways to do so is sharing quotes, which requires a repetition of the same, but it is also the job of the female researcher to introduce new ones. I choose to take this quotes, footnotes and bibliography to one’s reality, to verify what we can use and how we’ve been influenced by reiterating this quotes for generations, contextualizing them and when possible, re-updating them, with the intention of decolonize the quotes, footnotes and bibliographies to build and embodied theory.
      Gelen Jeleton (Murcia, 1975) develops her artistic practice with Jesús Arpal Moya in Equipo Jeleton since 1999.

      “My studio visit.The city as studio” by artist Antoni Hervàs (SP)
      My studio visit.The city as studio is a format in which a local practitioner is commissioned to give a visit in a particular location/place/venue of Barcelona linked to his/her work, in order to speak about his/her own practice through the city and out of the common working studio space.

      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

      BAR module 9th-13th January
      with Summer Guthery (USA), Alfredo Aracil (SP), Emma Haugh & Suza Husse (DE), Erick Beltran (MX-SP)

      “Notes on Schizoculture, Anti-Psychiatry and Scientology”, lecture by Summer Guthery (JOAN, Los Angeles)
      A lecture weaving together the LA-based fringe religion Scientology, the Anti-Psychiatry movement and revelations from the Schizo-Culture conference, the legendary 1975 conference on the challenges of psychiatric institutions that brought the then-unknown radical philosophies of post-’68 France to the American avant-garde.
      Summer Guthery is a curator and writer based in Los Angeles. She is the founder and director of non-for-profit exhibition space, JOAN. She received her MA in Curatorial Studies from Bard College’s CCS. Guthery is a regular contributor to Frieze and Artforum amongst other publications.

      “Notes for a destructive psychiatry”, lecture by Alfredo Aracil (Sala de Arte Joven 2017, Madrid)
      The epidemic of mental illness that we (supposedly) live, treated only with drugs and supported by biologistic visions of our psyche, compels us to review the teachings of antipsychiatry, in a twist that returns insanity to the center of public debate, to the community, where cultural production is capable of revealing the political issues that are hidden in the psychopathological.
      Alfredo Aracil is a curator at Sala de Arte Joven de Madrid 2017 with the project “Apuntes para una psiquiatría destructiva (Notes for a destructive psychiatry)” which questions production mechanisms of mental disorders, as well as institutions and clinical methods involved in health management. He has collaborated with magazine Nosotros, El cuaderno, Tendencias, LUMIÈRE and now is writing for Atlántica XII and El Estado Mental.

      “The Many Headed Hydra”, workshop by Emma Haugh & Suza Husse (District, Berlin)
      Moving through lands, cities and buildings, through intimate, forbidden and public spaces, through bodies and between lands and ever slipping from control or containment, bodies of water are linked to an imaginary of crossing, to movements of passage. Following the waters, a different cultural cartography appears – one that flows through the geography constructed by demarcations of national territories, of property and of linear histories. The Many Headed Hydra explores the waters as rhizomatic narrative space and as potential infrastructure of commons.
      Emma Haugh is a visual artist and educator based in Dublin and Berlin. Suza Husse runs since 2012 the interdisciplinary art space District Berlin with an emphasis on artistic research, collaborative practices, public space, critical education and political imagination. 

      My studio visit.The city as studio” by artist Erick Beltran (MX-SP)
      My studio visit.The city as studio is a format in which a local practitioner is commissioned to give a visit in a particular location/place/venue of Barcelona linked to his/her work, in order to speak about his/her own practice through the city and out of the common working studio space. 

    • Cristina Ochoa: PHARMAKON. Cure or poison


      Tuesday 29th November, 7pm, Galeria Àngels Barcelona*

      Pharmakon is an artistic research project that opens the discussion to demystify the ambivalent concept of ‘drug’. An experimental, biochemical and aesthetic laboratory is proposed in Pharmakon, which examines the historical use of different substances and their effects on behavior, questioning social and cultural taboos regarding to drug use.

      Facing with the emergency of a pedagogy, the drugs issue is addressed here from an aesthetic and political perspective. After a fieldwork, interventions, visits, surveys, interviews and collaborations with different groups of people, professionals and places in Barcelona, an experimental work is presented inside and outside the study. It comprises a series of pieces and actions alluding to psychoactive substances, as well as collaborations and interactions that operate as windows to other knowledges.

      Control behavior desire is as old as the wish to intoxicate itself, however it is now necessary to understand the reasons why certain substances have been used recreationally and/or medicinally. In the research of a cure and the alteration of a body, the modern pharmacopoeia is developed with the exploration and consumption of drugs. Deleuze and Guattari would understand schizophrenia as part of the capitalist problem. Madness is in constant tension with power, while the abject tries to be delimited by the state, monitored and normalized. Although Hinduists, orientalists or shamanists are still charmed by exoticism and their spiritual capitalist fetishism, it may be in these spheres, which a less orthodox or non-Western view, where it can be brought into the discussion by reflecting on the role of poetry, art and other non-academic knowledge among magic, alchemy, shamanism, occultism and hermeticism.

      Through an investigation about the history of the pharmacy that affects the notion of drugs for itself; the production of paints and watercolors with different substances – coffee, wine, tobacco, marijuana, poppy, ephedrine, peyote, cocaine, MDMA; a laboratory installation with a glossary of drugs; a video record of psychedelic trips under the effect of certain substances, Pharmakon tries to break paradigms regarding to the use of different psychoactive substances, questioning the political mechanisms of the prohibition, the management of pleasures and risks, the narco war or the prevention of the dependence.

      Thus in madness and the abject, also are manifested visions and choices of resistance, to emancipate the mind of cognitive capitalism. Pharmakon would be a way of access to denied knowledge, art and poetry a drug that activates perception and reflection.

      Cristina Ochoa residency is a collaboration between SOMA (Mexico) and BAR project

      *Galeria Àngels Barcelona
      Carrer Pintor Fortuny, 27, Barcelona

    • Mónica Restrepo: De Mala Gana 2 (Reluctanty Part2)

       

      Thursday 24 November, Fabra i Coats, Barcelona*
      19h Action by the artist Mónica Restrepo

      A space 3 x 3 meters wide and long, more than 2 centimeters deep. It is fresh, flattened, smooth mud. There is a series of objects on the top of it. Some of them are made in clay which has already become ceramics, some others are beginning to be, and some piled up fresh mud. This mud floor alludes to the place where the encounter and later looting of an indigenous cemetery happened in Colombia in 1992. The smoothness of the floor makes reference to the place as it resulted after the looting and as it was in the beginning, when there wasn’t – apparently – anything.

      The installation being on the floor, the person telling the story has a physical relationship with the space, in addition to the fact that she can utterly modify the installation. With every step, every movement, she changes the space, like a sheet of paper filled up with ink when one draws on it. The way one can write / dig on this surface involves not only one’s feet but other parts of the body and other actions besides walking: lying down, sitting, crawling, kneeling, falling and using knees, hands, elbows, head, feet, ingers and diverse utensils. Mud itself is a writing tool.

      Excavate, modify this surface as to re-write the text that was already written, the story – the disaster – that already happened. Re-write it in an attempt to examine in greater depth what exactly happened. Excavating means then to look again, to look at the ground, to observe it carefully, to decompose it. Discover what there is beyond the surface and try to find the roots. Origin, truth, is not something of interest here. It is not so much about the source of the problem, but about following its roots, discovering their extent and/or speculating about it.

      Mónica Restrepo (Bogotá, 1982) lives and works in Cali (Colombia). She studied at the Fine Arts School in Cali and participated at the Postgraduate program in the Fine Arts school in Lyon and the Homework Space Program in Beirut. Among her recent exhibitions: Surface Matters, Glassbox (Paris); Flor o Florero, Galería Jenny Vilá (Cali); Room for doubt, ICSP (New York); 10th Mercosur Biennial (Portoalegre); M/Other Tongue, Tenderpixel gallery (London); Moucharabieh, Triangle (Marseille); ArcoColombia (Arco Madrid); Markers 2015, Art Dubai; Ella estuvo aquí, Galería Jenny Vilá (Cali); Las cosas en sí, Museo La Tertulia (Cali); El diablo probablemente, Fundación Misol (Bogotá). Her work is based on documents and banal stories, that she uses as arguments to create absent images where conflicts contained in them start to appear. She has worked around the idea of performative document experimenting with craft materials such as clay and immaterial medias such as performance, video, text.

      Mónica Restrepo residency is an initiative powered by Emma in collaboration with BAR project

       

      *Fabra i Coats – Fábrica de Creación de Barcelona
      Carrer de Sant Adrià, 20, Barcelona

    • We have some great news!

      We have some great news!

      Have a look at our webpage and enjoy the homepageresidency by Jaume Ferrete

      We wish you a sunny summer! See you on september, ciao

      Andrea, Juan, Veronica

      newsletter48

      >> from Spring 2016 onwards
      Resident project at Fundació Antoni Tàpies, Barcelona

      BAR TOOL #0, the new pedagogical program by BAR project, will be host at Fundació Antoni Tàpies as part of the collaboration as resident project.

      >> June – August
      Basel goes to BAR project: Yanik Soland  

      BAR project is collaborating with Institut Kunst HGK hosting one student a summer in the city of Barcelona. True, the summer is the time when the city does not work, but, also true in this time of the year the more informal energies allow for the most. Why summer? Are we not going to be „cooked“ by the sun? Indeed, and also gain the possibility of experiencing a place in its peak of tourist, in a very special moment of its city use. Summer, as well, is full of opportunities that entangle leisure with art production. This is a residency not to do more, but to allow the artists to transit, to think, to see, to get to know. Relaxation is an integral part of thinking, why not to create the possibility of a summer around it. First student in resident is Yanik Soland (1990), an artist and musician based in Basel. His work has two basic traits: research and humor. With those he tries to understand the development of society, culture and art. Lately he’s very interested in collaborative work and the resulting potential of partially losing control of esthetics and content. During the last years he went on tour with several music projects and played in Italy, Serbia, Japan, Germany, Austria, Switzerland, Croatia, Slovenia and Hungary.

       >> September 2 – November 6
      Fellow of the 11th Gwangju Biennale “The Eighth Climate (What Does Art Do?)

      The GB11 “Biennale Fellows” consist of roughly one hundred small-and medium-scale art organizations across the world, whose work makes important contributions to the art of today, yet remains under the radar. In a two-day forum (2-4 September), Biennale Fellows, as well as their peers and colleagues, are invited to come together, share experiences and discuss the future of this kind of work, especially with regards to questions of value, continuity and scale.

      Distinct from bigger-scale art organizations such as museums, art fairs, and biennials, organizations like us often function as the research and development department of the art world. Above all, we actively support artists to experiment and cultivate their practices and nurture contact and conflict zones around themselves. Yet the significance of our work is not fully acknowledged in a wider ecology, while our self-determined “marginal” or “minor” positions, as well as increasing precarity in the climate of austerity and various crises, are palpable. As Biennale Fellows, along with more than 100 other fellows, we place art center stage and create a platform to discuss specific values that our work embodies, as well as imagine acts that we can perform in common. The Forum will be one such concrete moment in which you all are welcome to join.

      >>  starting on September
      New entry!!! Gloria Fernández is the new BAR project coordinator

      Thanks to Employ Culture grant the initiative that creates jobs in the cultural sector by Santander Fundation we are pleased to announce that Gloria Fernández is the new BAR project coordinator. Gloria Fernández is an educator and coordinator of educational and artistic projects. She studied Fine Arts at the Universitat de Barcelona, specializing in arts education, and thenceforth she collaborated with different institutions as MACBA, Fundació La Caixa, Espai Cultural Caja Madrid, Musée Mobile (MuMo) or Liminal Gr in conducting and/or coordinating several projects. In between she studied a Master’s degree in Design and Management of Exhibition Projects (ELISAVA) and shortly afterwards she coordinated Arts Libris, the International Fair of Contemporary Edition of Barcelona. She is interested in cultural mediation and transmission of contents used by contemporary art as well as the interaction of artistic structures with the public user of these.

      >> September – November
      BAR residency program fall residents

      Sojung Jun / Jungju An – Cristina Ochoa – Mónica Restrepo Herrera

      BAR project fall session residents, Sojung Jun / Jungju An (Corea),  Cristina Ochoa (Mexico – Colombia) and Mónica Restrepo Herrera (Colombia) continue developing the curatorial program for 2016, reflecting from different perspectives the politics of control of human behavior.

      In collaboration with Fundación Nefkens, SOMA Mexico – AC/E,  y EMMA.

      >>Apply untill Seotember 18
      BAR TOOL #0

      An eight months practice-based training program. Study period at Fundació Antoni Tàpies and Fabra i Coats – Creation Factory, Barcelona from November 2016 until June 2017.

      >> Apply until the end of September
      Partner Platform for the 2017 edition of the Future Generation Art Prize

      The Future Generation Art Prize is a worldwide contemporary art prize to discover, recognize and give long-term support to a future generation of artists. The last edition of the prize in 2014 received over 4,000 applications from over 130 countries, and its 21 shortlisted artists participated in a special exhibition in Kiev. The winners were Nástio Mosquito (Angola) and Carlos Motta (Columbia), who split the $100.000 prize. The exhibition included 21 finalists, among whom were Neïl Beloufa (France), Cally Spooner (UK), GCC (Arabian Gulf Region), Ximena Garrido-Lecca (Peru), Kudzani Chiurai (Zimbabwe), and Cécile B. Evans (USA/Belgium). After the great success of the third edition, we are pleased to launch the fourth edition of the prize, which will culminate with an exhibition of the shortlisted artists in Kiev in February 2017 and in Venice, Italy, in conjunction with the 57th Venice Biennale in May 2017. Artists around the world under the age of 35 may enter the competition through an open call online application available in ten languages and open for three months online: Mid-June – September 2016. After the application period, the Selection Committee will shortlist twenty artists for an exhibition at the PinchukArtCentre in Kiev, which will be judged by an International Jury. The Jury will then award one main prize of $100,000.

    • Residents talk: Valentina Desideri, Warren Neidich and Florencia Portocarrero

      fotoevento

      Wednesday, April 6th, 07.30pm, Fabra i Coats*

      In the context of BAR project curatorial program, which explores during 2016 the politics of control of human behavior, artists Valentina Desideri (IT/NL) and Warren Neidich (US/D), and curator Florencia Portocarrero (PE), in residence until the end of May, will be presenting their work and introducing the projects they are developing in Barcelona. These projects and researches will be partially shown at “The Right to be Unhappy” event, taking place at French Institut and Antoni Tàpies Foundation respectively on 6th and 7th of May.

      Valentina Desideri is an Amsterdam-based artist. She trained in contemporary dance at the Laban Centre in London (2003–2006) and later on did her MA in Fine Arts at the Sandberg Institute in Amsterdam (2011–13). She does Fake Therapy and Political Therapy, she co-organises Performing Arts Forum in France, she speculates in writing with Prof. Stefano Harney, she writes biographies by reading people’s hands, she engages in Poetical Readings with Prof. Denise Ferreira da Silva.

      Warren Neidich is an artist, writer and organizer who is founding director of the Saas-Fee Summer Institute of Art. For the past twenty years he has been utilizing a variety of media from photography, video, painting, sculpture, performance and installation to investigate the emancipatory capacity of artistic expression both in the world and the brain. Recently his interests have turned to what he refers to as a neuroethics: the right of every individual on the planet earth to fully activate his or her neuroplastic potential. Neidich is currently working on two major artworks at this time. In Los Angeles he is the middle of The Hollywood Blacklist Project 2013-2018. A number of preliminary projects including Book Exchange, 2014 and Double Jeopardy, 2015 are intended to set the ground work for a major public work in 2017 called Re-imagining the Hollywood Walk of Fame.

      Florencia Portocarrero is a researcher, writer and independent curator. She obtained her BA in clinical psychology at the Pontifical Catholic University of Peru, where she also received her MA in Psychoanalytical Theory. During the 2012/2013 Portocarrero participated in de ‘Appel Curatorial Programme’ in Amsterdam and recently she completed a MA in Contemporary Art Theory at ‘Goldsmiths University’ in London, where she graduated with honors. Portocarrero regularly collaborates with the international contemporary art magazine Artishock and has contributed with her writings on art and culture in numerous catalogues and publications. In Lima Portocarrero is co-founder and co-director of the independent art space ‘Bisagra’ and works as public program curator at ‘Proyecto AMIL’.

      *Carrer de Sant Adrià, 20, 08030 Barcelona

    • BAR module: Curating the space / Space for curating

      Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach and BAR module participants

      Friday 4th December 2015, 07:00 pm, Fabra i Coats – Barcelona Art Factory

      BAR module: Curating the space / Space for curating
      A flexible pedagogical format on curating with Sofía Hernández Chong Cuy, Chus Martínez, Michy Marxuach
      30 November–6 December 2015, Fabra i Coats – Barcelona Art Factory

      BAR_F_TAPIES_72_038
      BAR curators talk, Tapies Foundation, July 2014, photo by Eva Carasol

      In the context of BAR module: Curating the space / Space for curating – the new flexible pedagogical format by BAR project – we are happy to invite you to the final BAR curator talk, a public conversation among Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach and BAR module participants.

      The first BAR module: Curating the space / Space for curating highlights the research for a territory of curatorial expression. The program focus on providing a context for an intensive professional exchange about this very important issue on curatorial work nowadays. Seeking to create an intimate and informal learning environment, a group of participants gather international guest curators to think, question and develop ideas on curatorial practice over a period of a week. Following the modus operandi of BAR project, hospitality will be at the core of the program, generating an environment where knowledge transfer occurs from experience, conversation and action.

      The selected participants are: Alejandra Avilés, Cristina Albertini, Garazi Ansa, Francesca Boenzi, Pauline Bordaneil, Alba Folgado, Gris Garcia, Valentina Lacinio and Helena Perez.
      Writer in residence: Maja Ćirić.

      The program starts with The walking tour by BAR project in the city of Barcelona, a selection of guided visits to commercial, institutional and independent spaces, as well as meetings with local practitioners. The following days the program take place at Fabra i Coats – Barcelona Art Factory. Consisting in daily public lectures and conversations led by Chus Martínez (Head of the Institute of Art at the FHNW, Basel), Michy Marxuach (Co-founder of Beta-Local, San Juan, Puerto Rico), Sofía Hernández Chong Cuy (Curator of the Colección Patricia Phelps de Cisneros, New York), all participants have the opportunity to present their personal statements and points of view on the subject. Last day at Fabra i Coats will include a public talk among the guest curators, Carles Guerra (director Tàpies Foundation) and Latitudes (Max Andrews and Mariana Cánepa Luna, independent curators, Barcelona) together with the participants, followed by a cocktail party. The weekend will be devoted to studio visits with local artists around the city.

      The BAR module: Curating the space / Space for curating is generously hosted by Fabra i Coats – Barcelona Art Factory.

      Fabra i Coats – Barcelona Art Factory
      Carrer de Sant Adrià, 20
      Barcelona 08030
      http://fabraicoats.bcn.cat

       

    • Maja Ćirić: Within one’s grasp

      In a convivial mode: BAR project resident presentations at Angels Barcelona

      Artists: Cristian Herrera Dalmau, Gaby Felten, Miquel Garcia, Paulina Silva Hauyon, Luke James, Sanja Latinović and Ranko Đanković, Daniela Ortiz, Joffrey Morel
      Curated by Maja Ćirić

      Opening Thursday November 19, 7:30 pm, Angels Barcelona Espai2*
      Presentation of the project by the artists and curator at 6.30 pm
      Exhibition: November 19- 27, 2015

      Within One’s Grasp is the second of the three presentations of In a convivial mode, a series of exhibitions, actions, conversations and screenings by residents Gaby Felten, Maja Ćirić and Alex Martinis Roe at àngels barcelona and àngels barcelona espai 2. Due to the conviviality, closeness and proximity that living and working together has created among them, the residents decide to present their projects in the same physical context. It is not a collaborative work process, but an attempt to create a common public space for the presentation of an ongoing dialogue and exchange.

      Within One’s Grasp emerged as an answer to the question about how we treat reality based on an honest approach (Marina Garcés:2013). According to Garcés, to treat means to situate, and not to represent or intervene in subject-object relations; cause and effect. To realistically situate this project was to abandon the initial curatorial idea of placing artistic works and art agents in an unusual and desired physical setting such as the empty Olympic swimming pool of Barcelona, known for its splendid panorama of the city. Within One’s Grasp is an exhibition concerned with the micro-politics of art (even if they can influence the city), and not by the influences exerted by the assumptions of residing in Barcelona.

      Within One’s Grasp is a final result that stands halfway through the intended event at the empty Olympic Swimming pool, and what was actually possible. Instead of appropriating the symbol of the Olympic Games (which completely changed the future of Barcelona) as a metaphor, we the art people were only able to do what was within our grasp and in our own field. To situate was only possible as a manner of reinforcing the position of the arts within a society and as a society. If it were not for the process of sharing, comparing and contrasting imaginaries between the artists and myself, then my authorship as a curator and an immaterial worker would remain abstract. Our social relations contribute to the content of the artworks, despite our differences. Treating in this case means that the micro-societies of the art world are not indifferent to their own inner struggles. The languages that artists use are multiple, but they reinforce each other. The presented works are not self-sufficient gestures, but gestures of self-problematisation: “self” being extended over and above the individual and toward the art community. The works aim to point out an artistic-curatorial urgency by dealing in actions that being in the present allow for, whether we are temporary or permanent residents of the city. In the absence of possibilities to change the larger game in macro-politics and because art is never only a play, it is by situating plural performativities and channeling these as a content and through authorship that we create micro-gestures of independence in the art world.

      The works commissioned for this exhibition include a new work by Daniela Ortiz, an artist known for reconsidering colonial legacy, by tackling issues of class, gender and nation. With a specific gesture she will problematize the market related conditions and possibilities in relation to the artistic legacy. In the art work 13 days curatorial power was delegated to the artist Miquel Garcia, after having signed a mutual agreement on a napkin. His total autonomy based on nothing but trust, thus sets a condition for a mini-revolution. In this constellation the curator erases herself as a middle-woman and a trans-national precarious migrant who paradoxically embodies some symbolic power to integrate artists into the exhibition. The only conditions set were that his final work could not be a video nor include any kind of map. Paulina Silva Hauyon Lo Que No Se Dice uses art to open up an otherwise invisible space for tales made by older citizens, thus situating them in the art world. You Are Under My Power by Luke James, commissioned for this exhibition, is an example of institutional critique, that uses the method introduced by Tex Avery, as a method of counter-culture, based on failure and repetition. More precisely, James transposes the rules and tactics that define the chase between the characters of the cartoon Road Runner and Coyote to the realm of art. For example, when the Coyote, being the institution of art, tries to humiliate the Road Runner, being an artist, it actually bounces back to him. La Grua (A Crane) by Cristian Herrera Dalmau is a never exhibited, but a discussed example of the institutional crtique that treats collective efforts to overcome physical barriers in taking out an installation in a form of an elephant out of the Facultad de Bellas Artes de Barcelona. La Grua is constructed out of materials students left at that very institution. Sanja Latinović and Ranko Đanković are integrated as the only artists who have nothing to do with Barcelona. They take part with a video documentation of a performance White: Movement that treats the idea of passing form through a human structure, showing what gets lost in any creative process. Invisibilidad de trabajo by Joffrey Morel comes in a form of a maquette of the empty Olympic swmming pool and envisioned as a relational space. It is a art work in a funciton as a silent witness of the conversations between artists and a curator that preceeded the exhibition. In a descrete way, and in a form of a box, the maquette can be brought in and brought out from the institution.

      All the above mentioned artist treat the institution of art in a way that they criticize, overcome or reinforce its conceptual and physical confines. Hovewer, the exhibition is not derived from the history of institutional critique, but from an organic relation to the art community and its contextual and material insecurities. As such, it aims to situate realistically a particular art community that exists in one moment of time in Barcelona, aware of its self-referentiallity.

      Maja Ćirić, Ph.D. (1977, Belgrade) is an independent curator. Her areas of research and practice span from curating as institutional critique, through to the research of the geopolitics of the curatorial, with special emphasis on the transnational circulation of ideas and curating. She is a contributor to the theoretical discourse on curating through conferences (Academy of Visual Arts, Leipzig; European University Cyprus,Nicosia), publications (The Forager; OnCurating, FlashArt; BlackDog Publishers) and lectures (Kibutzim College of Education and the CCA Tel Aviv, Israel; Hangzhou Academy of Fine Arts, China). She thinks in terms of criticality and post-globalism, while believing that inter-personal encounters within the art world embody a potential for a twist in hegemony. Maja Ćirić curates in a context-responsive manner, mainly in smaller-scale institutions and projects spaces internationaly, from China to Europe and onwards to USA.

      She is a recipient of the Lazar Trifunović Award for Art Criticism (Belgrade), the CEC ArtsLink Independent Projects Award (New York), the ISCP Curator Award (New York) and the Dedalus/Independent Curators International Curatorial Research Award (New York). She was the curator of the Serbian Pavilion at the 52nd International Art Exhibition La Biennale di Venezia and is the Commissioner for the Serbian Pavilion at the 55th International Art Exhibition, La Biennale di Venezia. She is a member of ICI, IKT and AICA.

      She recently served as a jury member for Young European Trieste Contemporanea Artist Award and is on the board of the Serbian Pavillion for the Architecture Biennale, La Biennale di Venezia 2016. She is curating a book for the Danish collective Hesselholdt & Mejlvang, due to be published in 2016. She also serves as a regional editor for South East Europe of the Art Market Dictionary, due to be published by DeGruyter in 2017.

       

    • Gaby Felten: Not in an Emancipated Way

      In a convivial mode: BAR project resident presentations at Angels Barcelona

      [Opening Wednesday November 11, 7:30 pm, Angels Barcelona*
      Exhibition: November 11- 20, 2015.

      Not in an Emancipated Way is the first of the three presentations of In a convivial mode, a series of exhibitions, actions, conversations and screenings by residents Gaby Felten, Maja Ćirić and Alex Martinis Roe at àngels barcelona and àngels barcelona espai 2. Due to the conviviality, closeness and proximity that living and working together has created among them, the residents decide to present their projects in the same physical context. It is not a collaborative work process, but an attempt to create a common public space for the presentation of an ongoing dialogue and exchange.

      Not in an Emancipated Way is an exhibition conformed by a series of works that artist Gaby Felten has produced during her residency. Felten installations, videos and sculptures react to her direct environment and context, naively responding to the visual input she happens upon in Barcelona with a hands-­on approach. Certain elements that are repeated throughout the city – the plaza, the public fountain, the sifon, the marble street sign, the beggar’s sign, the shopping trolley of recycled goods, the influence of Latin American and African culture and many more – are the stimuli for Felten to react from her Western globalized labor context position.

      In the same way that she presents herself within the Barcelona context, partially as an artist, the works all incorporate an element of fragmentation: a broken street sign, a torn-­up beggar’s sign, and cut­-up or reconfigured maps of countries in the African, American and European continents, creating a kaleidoscopic witness of the encounter between the artist and the city.

      In a convivial mode following presentations:

      Thursday November 19, 7:30 pm, àngels barcelona espai 2 Maja Ćirić

      Wednesday November 25, 7:30 pm, àngels barcelona Alex Martinis Roe

      Gaby Felten (1981) studied at the California College of the Arts (Oakland/San Francisco, 2005) and The Royal Academy of the Arts in The Hague (KABK, 2014). She has resided in 9 countries on 3 different continents during her lifetime. Her artistic practice has greatly been influenced by these episodes of temporary residence. Labor, identity formation and alienation are subjects which she deals with often. In August 2012 she was invited show her performance The Department of Surplus Person Affairs at the Matadero in Madrid during the satellite programming of the exhibition Our Work is Never Over (2012). In 2014 she received the Pro Invest grant from STROOM, an artist support organization based in The Hague. In 2015 she was asked by the Montreal art journal Le Merle (Volume 3, nr. 1) to contribute an article on the changing landscape of cultural support in the Netherlands. Gaby regularly shows her work in group exhibits in The Hague, in locations such as Gemak, Nest, Nutshuis, Korzo and Hoop.

      In collaboration with àngels barcelona.

      *Calle Pintor Fortuny, 27, 08001 Barcelona

    • BAR PARTY – Natalia Sorzano

      • foto web 7
      • foto web 8
      • foto web 2
      • Foto web 3
      • foto web 6
      • foto web 5
      • foto web 9
      • foto web 4
      • foto web 10
      • foto web 11
      • Foto web 1
      • foto web 12

      We celebrated our second anniversary with you in a special day-time party. We danced, ate and drank. Artist and musician Natalia Sorzano (CO) – aka NIKA – presented a performance followed by a d-jay session during the afternoon on a stage in the garden.

      We would like to thank people, organizations, all the artists, agents and public for their generous support.

      Natalia Sorzano (Colombia, 1984) aka NIKA use multimedia to approach human social attachment to cultural imagery and collective faith. Exemplifying through fiction and music, she researches the relation between emotion and social and political histories.

      She graduated with degrees in Law and Fine Arts from Los Andes University in Bogotá, 2010. Currently enrolled in a Master Degree programme of Fine Arts at the Piet Zwart Institute in Rotterdam. Her most recent exhibitions were at Tale of a Tub and TENT, performing during Katarina Zdjelar´s book Launch “Toward a further word” (Rotterdam, 2014). Her work has been shown in spaces around Latin America, such as Proyectos Ultravioleta (Guatemala, 2010), Des Pecho (Costa Rica, 2011), Museo La ENE (Argentina, 2012), Salon Regional (Colombia, 2012) and La Otra Bogotá Biennial.

       

    • Curator talk: Binna Choi, Matteo Lucchetti and Silvia Franceschini

      • BAR_Fireplace_web_12
      • BAR_Fireplace_web_11
      • BAR_Fireplace_web_10
      • BAR_Fireplace_web_1
      • BAR_Fireplace_web_8
      • BAR_Fireplace_web_9
      • BAR_Fireplace_web_7
      • BAR_Fireplace_web_6
      • BAR_Fireplace_web_5
      • BAR_Fireplace_web_4
      • BAR_Fireplace_web_3
      • BAR_Fireplace_web_2

      newsletter_4-2

      Tuesday 2nd June, 7pm, Fireplace*

      Based on the different perspectives and positions of the visiting curators, this conversation will deal with their approaches to institutional and socially engaged artistic practices.

      Participants: Binna Choi is director of Casco, Office for Art, Design and Theory (Utrech, NL), Matteo Lucchetti is curator of the research and biennial award Visible project (Brussels, B) and Silvia Franceschini is independent curator and member of the curatorial team of the upcoming Kiev Biennale of Contemporary Art (Kiev, 2015).

      Event sponsored by
      absolut

      Generously hosted by
      fireplace

      *Fireplace, Carrer Taulat, 42b

    • Me and you and everyone we meet

      Santome-sargadelos
      Diego Santomé, Apuntes y breve aproximación a Sargadelos, 2014

      Me and You and Everyone We Meet is a video program (films, short films, documentary) structured in four chapters that explores the main elements that set up subjective production and the working environment taking it as a space on which reflection is needed in order to generate different readings and possibilities imagining new ways of living and organizing ourselves.

      Wednesday April 8, 2015, 08,00pm, Zumzeig Cine
      Chapter 4: Modernity: changes, promises and frustrations

      Diego Santomé, Apuntes y breve aproximación a Sargadelos, 2014. 14’; Patricia Esquivias, The Future Was When?, 2010. 20’; Tamar Guimarães, Canoas, 2010. 13’25’’

      With an introduction by Diego Santomé, the last chapter of the  program works as a proximity framework. From the utopian ideal of Sargadelos and its dissolution in the capitalist economy, through a strange story about Madrid and New York urbanism from subway tiles, or  Brazilian modernist architecture from a party in a Niemeyer house, the chapter proposes different readings of the promises that modernity brought and how they have been trasformed, evolved or truncated over the years.

      FILM DESCRIPTION

      Diego Santomé, Apuntes y breve aproximación a Sargadelos, 2014. 14´

      A film shot in Sargadelos (Cervo), the place where, in 1806, Antonio Raimundo Ibáñez founded a ceramics factory to exploit the area’s natural resources. The images depict the current the ceramic production process, Sargadelos’ so-called ‘fifth stage’ spurred on from 1949 by Isaac Díaz Pardo with the creation of Cerámicas do Castro (Sada) and Porcelanas de Magdalena (Argentina); and completed, in 1970, with the construction in Cervo of the circular plant designed by the architect, Andrés Fernández-Albalat, symbolising the recovery of the original company’s business and the spirit in the municipality. The heyday of this stage was marked by the creation, in 1963, of the Galician Laboratorio de Formas (Laboratory of Forms), a programme aimed at recovering Galicia’s historical memory subsequent to the process of ‘memory loss’ suffered as a result of the Spanish Civil War in 1936. Spearheaded by Díaz Pardo, Luís Seoane and a group of intellectuals who had been in exile since the Spanish Civil War, the Laboratory is an institution which condenses the lines of thought which helped to form the Sargadelos group, Galicia’s great industrial and cultural project, and which would become an example of the regulatory nature of the utopia, the moral ideals that encourage us to construct or transform, a metaphor for creation bound to the transformation of society.

      Patricia Esquivias, The Future Was When?, 2010. 20’

      In The Future Was When? (2009) Esquivias organizes a complex narrative of urban space around the tiling of subway stations in Madrid and New York. She reads ceramic tiling as a conceit for an individual’s relationship to the fading modernist organization of space, and for tracing the grand and now uncertain legacy of urbanism between two branded and networked metropolises.

      Tamar Guimarães, Canoas, 2010 16mm transferred to HD, 13′ 25”

      The video Canoas centres upon a cocktail party at Oscar Niemeyer’s Casa das Canoas; a masterpiece of Brazilian modernist architecture bordered by tropical jungle. In these seductive surroundings, we overhear snippets of guests’ conversations, which range from discussions about the quality of the champagne to the questioning of Gilberto Freyre’s observation that “Brazil has an eroticism that transcends race and class.” The collaging of these fractured statements serves to problematise the habits and routines of cultural producers.

       

    • Curator talk: Lara Khaldi, Rieke Vos and Natalia Sielewicz

      • BAR_Salamina_72_005
      • BAR_Salamina_72_006
      • BAR_Salamina_72_007
      • BAR_Salamina_72_008
      • BAR_Salamina_72_009
      • BAR_Salamina_72_010
      • BAR_Salamina_72_011
      • BAR_Salamina_72_012
      • BAR_Salamina_72_013
      • BAR_Salamina_72_014

      The three visitor curators talk about their practice and projects. The event  take place during the opening day of Salamina, a new artist run space in Hospitalet de Llobregat, Barcelona.

    • André Romão: IRON, FLESH, ABSTRACTION

      • ROMAO_PRO

      “Different voices crossed and blent in a continuous verbal flow… And as you know, speaking is a form of self-eroticism, and therefore of pleasure, and that was clear as you listened to Radio Alice. (…) Voices without images, voices that intensified in the dark.”

      Interview to Clemens Gruber, 1977 l’anno in cui il futuro cominciò, Franco Berardi (Bifo) e Veronica Bridi (eds.), Fandango libri, Roma, 2002

      The residency and the exhibition by André Romão is a collaboration between BAR project and The Green Parrot.

    • Curators talk: Eva González-Sancho, Annie Fletcher and Lisa Mazza

      • BAR_MULTIPLOS_72_004
      • BAR_MULTIPLOS_72_009
      • BAR_MULTIPLOS_72_020
      • BAR_MULTIPLOS_72_026
      • BAR_MULTIPLOS_72_027
      • BAR_MULTIPLOS_72_030
      • BAR_MULTIPLOS_72_033
      • BAR_MULTIPLOS_72_035
      • BAR_MULTIPLOS_72_036
      • BAR_MULTIPLOS_72_037
      • BAR_MULTIPLOS_72_040
      • BAR_MULTIPLOS_72_044

      Thursday January 15, 2015, 7:30 pm, Múltiplos
      Carrer de Joaquín Costa, 30, 08001 Barcelona

      The curators Eva González-Sancho (pilot Oslo biennialco-curator), Annie Fletcher (Van Abbemuseum curator, Eindhoven) y Lisa Mazza (Lungomare Bolzano co-director) will talkof their curatorial work and their ongoing projects.

       

    • Me and You and Everyone We Meet

      AM
      Anna Moreno, Select The Right Location, 2014

      Me and You and Everyone We Meet is a video program (films, short films, documentary) structured in four chapters that explores the main elements that set up subjective production and the working environment taking it as a space on which reflection is needed in order to generate different readings and possibilities imagining new ways of living and organizing ourselves.

      Wednesday December, 3, 2014, 08,00pm, Zumzeig Cinema
      Third chapter: Art and culture in the cognitive labour paradigm

      Julien Prévieux, Anomalies Construites, 2011, 07’41”; Agnieszka Polska, How the Work is Done, 2011, 6´24´´; Anna Moreno, Select the right location, 2014, 33’; Chto Delat?, Museum Songspiel: The Netherlands 20XX, 2011

      Introduced by artist Anna Moreno, this chapter focus on the place that culture and art occupy or may occupy in today’s labour paradigm where the cognitive plays a leading role. The four films are developed from different perspectives, addressing issues as creative work in the business environment, the role of the artist in society, culture and crisis or the possibilities of the museum in an apocalyptic future.

      FILMS DESCRIPTIONS

      Julien Prévieux, Anomalies construites, 2011, 7’41’’
      A slow “traveling” on the screens of a computer room. In voiceover, two users free modeling software from Google “Sketchup” – which allows 3D landmarks on Google Earth – testify, one from a passionate and fulfilled approach for recognition of his talent by the computer giant, the other, from a more critical perspective, detects a kind of undercover work. “I think this time is very well done. Everything is so damn good, so well tied, do not even know we’re working when we work.”

      Agnieszka Polska, How the Work is Done, 2011, 6’24’’
      In 1956 a group of students of the Academy of Fine Arts in Cracow locked themselves inside the sculpture and ceramics workshop, transforming the venue of daily labour into a space of passive existence. In her quasi-documentary, Agnieszka Polska re-enacts the strike. Juxtaposing its inherent inaction, not far removed from an artistic performance, with animations showing the humdrum character of everyday creative work, the artist poses a question about the social effectiveness of the artists’ efforts.

      Anna Moreno, Select the right location, 2014, 33’
      A city is flooding and five artists seek shelter on the contemporary art museum’s rooftop. Each one of them has saved one valuable object from the flood, which is symbolic to the kind of artist that saved it and to the main topics discussed in the play. The artists are waiting for the flood to pass and meanwhile, they talk about their present -and future- situation. At one point, the occupation of the museum becomes a plausible possibility. The artists, then, decide to stay in the museum.

      Chto Delat?, Museum Songspiel: The Netherlands 20XX, 2011, 25’21’’
      The script takes place against the backdrop of an imaginary scenario of Dutch politics in the year 20XX, where all immigrants have been banned from the country. The museum seems to be the only institution in which they hope to be able to evade their deportation. The film raises the frightening question of which particular role the museum and therefore also art might be forced to play under political circumstances borrowed from the realities of Russian current political situation. The film is a kind of acid test on how socially concerned art might operate under severe pressure of control by nationalistic populist governments.

    • Me and You and Everyone We Meet

      Anathema (film still), 2011, by The Otolith Group. Copyright and courtesy the artists_
      Anathema (film still), 2011, by The Otolith Group. Copyright and courtesy the artists

      Chapter 2: From the analogical to the digital machine
      Rosa Barba, Somnium, 2011, 19’10”; The Otholit Group, Anathema, 2011, 37’; Ali Kazma, Automobile Factory, 2012, 10’27”

      Introduced by Carles Guerra, this chapter reflect in the change between the analogical and the digital in the post-fordist labour scenario. The three films speculate, trough a futuristic esthetic, in different moments of this process, imagining future possibilities and rethinking the consequences on present time.

      Film Description

      Rosa Barba, Somnium, 2011, 19’10”. A science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future. While we see images of the new land, we listen to a story apparently taking place in the future. Combined with archive pictures of the port, the images form a mechanical ballet of man and machine, set against a futuristic landscape.

      The Otholit Group, Anathema, 2011, 37’. Anathema reimagines the microscopic behaviour of liquid crystals undergoing turbulence as a sentient entity that possesses the fingertips and the eyes enthralled by the LCD touch-screens of communicative capitalism. Anathema can be understood as an object-oriented video that isolates and recombines the magical gestures of dream factory capitalism. Anathema proposes itself as a prototype for a counter-spell assembled from the possible worlds of capitalist sorcery.

      Ali Kazma, Automobile Factory, 2012, 10’27”. Displays the operation of the Audi factory in Ingolstadt, Germany. The large car assembly line works with minute precision as an orchestrated ballet. Ali Kazma inventory the world of work and material of human production and aesthetic.

    • Apéro Talk : Xiaoyu Weng

      • newsletter-23-1

      The Chinese curator Xiaoyu Weng, away on a trip by Europe in the occasion of her participation at Artissima of Turin fair, will tell us her practice and projects in between Asia & US.

    • Me and You and Everyone We Meet

      _MG_2439
      Richard John Jones, PROH-SOH’PA-PEER, 2009

      A video program curated by BAR project
      October 2014 – January 2015. Zumzeig cinema*, Barcelona

      Me and You and Everyone We Meet is a video program (films, short films, documentary) structured in four chapters that explores the main elements that set up subjective production and the working environment taking it as a space on which reflection is needed in order to generate different readings and possibilities imagining new ways of living and organizing ourselves.

      Wednesday October 1, 2014, 7.30pm
      Chapter 1: Other forms of community

      Renato di Maria, Il Trasloco (Moving out the future), 1991, 73’; Richard John Jones, PROH-SOH’PA-PEER, 2009, 11’31’’; Adelita Husni Bey, Story of the Heavens and Our Planet, 2008-2009, 7’2’’; Eva Engelbert, Tomorrow, 2012, 16’20’’; Nicoline van Harskamp, Sketch for Yours in Solidarity, 2011-13, 20’.

      Introduction by artist Richard John Jones, PROH-SOH’PA-PEER author and accomplice with Federico Campagna of the recovery and English translation of Il Trasloco independent documentary. This first chapter delves into different spaces and encounters that test, reflect or ponder other ways of understanding togetherness: a flat in Bologna of the 70’s, a queer group, a protest camp, a strange space where several people are preparing something together, or a series of anarchists letters.

      Ticket: 5€

      Films Description

      Renato di Maria, Il Trasloco (Moving out the future), 1991, 73’
      Located in Bologna and retrospectively looking at the history of one of the key places where the Autonomia movement took place during the 1970s, the film is a personal and heartbreaking memorie of emptying a house and the end of an era.

      Richard John Jones, PROH-SOH’PA-PEER, 2009, 11’31’’
      PROH-SOH’ PA-PEER is a sustained exploration of the representational logic of the mainstream media — in particular, the role the media has in framing the ideological predicates of contemporary political, activist and alternative (in particular queer) communities and individual subject positions.

      Adelita Husni Bey, Story of the Heavens and Our Planet, 2008-2009, 7’2’’
      A video working on the boundary between documentary practice and the surreal, based on life in two treesitting protest camps respectively in Titnore and Stanton Moore, Uk. Treesitting is an activist practice which requires protesters to build suspended villages and live in the trees in order to stop logging companies from cutting forests down; Archetype I (2008) was a totally autonomous off grid housing unit (installation), entirely built with recycled material, unplanned.

      Eva Engelbert, Tomorrow, 2012, 16’20’’
      An undefined collective organizes itself in an undefined site. They draw plans, build, spray, discuss, exercise, and send messages – they prepare themselves for tomorrow. For action? Insurrection? The camera’s path through their space is looped, but the peoples’ positions change – they present deviation within repetition. When is tomorrow?

      Nicoline van Harskamp, Sketch for Yours in Solidarity, 2011-13, 20’
      Yours in Solidarity tells a story of anarchism from the late 1980’s to today, through the letter archive of the late Dutch anarchist Karl Max Kreuger, now housed in the International Institute for Social History (IISG) in Amsterdam.

    • 2B0A1R3

      Friday, May 23, 18,30, Careof DOCVA & Viafarini DOCVA, Milan Talk and Screening program BAR project has been invited to participate to ‘MAY Invitational”, a project on art initiatives hosted by CAREOF and Viafarini in Milan

    • BAR project’s talk – Jugada a 3 bandas

      Wednesday, May 14th, Bar Olimpic (Joaquin Costa 25B), Barcelone BAR project’s talk among residents Mohamed Abdelkarim, Eduardo Navarro and Angela Serino and BAR project team project in the Olimpic bar. We will adress, in an informal and friendly environment, many issues arising from the proposed residences, their work in the city, common interests, or other ways of working that may crop up in the conversation. We invite anyone you feel like to participate and join us. Activity of Jugada a 3 Bandas.

  • Newslettler