HomePageResidency is the virtual project space by BAR project, in which we invites Barcelona local artists to develop a project for the web home page during 3 months.
From January to June 2018 HomePageResidency hosts proposals from the four participants of BAR TOOL (toolests) practical training program which anticipates the final project of the program at the end of June.
January: David Ortiz Juan, Los hechos son hechos (The facts are fabricated), 2015
A traveller presents the landscape as an entity capable of revealing invisible systems of power alongside its connection to the human body’s capacity to embody their ancestors’ memories. With this departure, the film reflects upon the relation between memory and memorials, their silences and inabilities to overcome trauma; the alienation of the unifying grand narratives, and the overcoming of absurdity by its acceptance. Shot in the Spanish island of Mallorca, “Los hechos son hechos” explores alternative narratives and imageries to revive the silenced histories of those disappeared by political repression during
Franco’s dictatorship in Spain.
For further context, read “Hypnagogia and the colonisation of memory” http://davidortizjuan.com/writing/Hypnagogia-and-the-colonisation-of-memory_David-Ortiz-Juan_EN.pdf
From January to June 2017 HomePageResidency hosts monthly proposals from each of the five participants of BAR TOOL (toolests) practical training program which anticipates the final project of the program at the end of June.
·October-November: Ariadna Guiteras, Strata (on-delay), 2017
“Strata” refers to the geological layers in which we read the history of the Earth. Layers of matter that fold over one another giving time a non-linear narrative. The formation of these strata and their movements is imperceptible to humans. Ariadna Guiteras proposes to place us in an unreachable time, in a continuous performance of two months in EspaiDos of Terrassa within the programme “Mesurar amb precisió els cims llegendaris!” curated by Caterina Almirall. For HomePageResidency “Strata” broadcasts on-delay.
Ariadna Guiteras (Barcelona, 1986) is a visual artist. He works on installation and performance to address issues such as control, body, gesture and memory from a social, political and emotional perspective. Starting from a feminist position, it investigates the oral transmission and the corporal cognition as alternatives to the hegemonic forms of transmission of knowledge. He has exhibited in cities such as Barcelona, Vic, Sabadell, London, Düsseldorf and Berlin; has received the Miquel Casablancas prize (2016), the fellowship of a guest researcher at the MACBA Center d’Estudis i Investigació (2014) and the research prize at Sala d’Art Jove (2014).
·August-September: Dorian Sari, 000 – extract, 2017
This is a sequence of the upcoming “000” video project. It is about how wonderful, fantastic, amazing, fresh, sexy, positive, sophisticated, gorgeous, good, great, pink, beautiful, smart, splendid, powerful, funny, honest, reliable, resourceful, fearless, thoughtful, careful, charming and bright we are.
Dorian Sari (Turkey, 1989) Multi-disciplinary visual artist. Observer of politics, motions and social movements. Looking into human beings, cultures and projects them with personal mythology in his installations. Making sublimation of actuality with materials found in the street.
·June-July: Daniela Caderas, Video, 6min. 19Sec., 2017
I am a tailor (Couture Ateliers, Basel, 2008) and goldsmith (K & A Degen, Basel 2004). After studying a half year of fashion design at the Royal Academy of Fine Arts in Antwerp, I graduated in Fine Arts (HSLU, Lucerne, 2016). Since 2016, I have been studying Fine Arts in the Masterclass at the FHNW Basel.
Old shape you always do
Tip top ready for the sky
The sky is still blue
The clouds come and go
Yet something is different
Are we falling in love?
Video, 6min. 19Sec.
· May: Alejandra Avilés WEST. DIAMOND-BACK RATTLE SNAKE [CROTALUS ATROX] [ALBINO] NORTH AMERICA ILLEGAL IN NAMIBIA.
[Earlier this year, I visited Swakopmund in Namibia. I share a slide of images taken with my cell phone while visiting the city’s “Alive Desert Snake Park” of the place]
Swakopmund was founded in 1892 as an strategic port for the German troops, that’s why is consider one of the best places to see the traditional german colonial architecture in Africa. Currently the main industry is the extraction of uranium, diamonds and tourism.
The city is invaded by the sand and wind runs with the smell of the sea. Was that subtle relation, between the sand and the sea, was reminded me constantly that we were on the edge of the Namib Desert with the Atlantic Ocean.
Swakopmund has the largest snake park in the country and is in this collection of reptiles that I found an albino rattlesnake. The label of the cage said: “WEST. DIAMOND-BACK RATTLE SNAKE [CROTALUS ATROX] [ALBINO] NORTH AMERICA ILLEGAL IN NAMIBIA”.
There are no rattlesnakes in Africa. The rattlesnake is the ultimate American snake, because it inhabit from the south of Canada to the north of Argentina, so I wonder what this rattlesnake was doing so far from America?
The crawling in snakes is something that interests me in relation to earth and territory. I used to think in the snake as the animal that slips between the border of Mexico and the United States. The snake was an example to say that political boundaries are not respected by nature. Nature has other boundaries and moves under its own rules. It would be ridiculous to say that a rattlesnake was illegally crossing from Sonora to Arizona because it’s the same desert ecosystem, that territory belongs to the rattlesnakes endemically.
But being in Namibia I faced for the first time the idea of an illegal snake. That animal was taken there to be an exotic pet. Then the government of Namibia confiscated it it decided to donated it to the Swakopmund’s Snake Park.
I thought her name was particularly unlucky. Someone associated the angles of its head with the angles of the diamonds. The “DIAMOND RATTLESNAKE”. The head of that snake had really nothing to do with diamonds, but was probably her name the one that made her look like a treasure in that city full of diamond shops.
We were present at the change of cage. The snake keeper was very friendly and allow me to take photos. I noticed that the snake was moving the rattle but the rattle wasn’t making any sound. I realized that this snake was full of fear and didn’t represent a danger for us. The cage door was wide open but the snake insisted on stay in the corners. She feared us more than we did, and even if she kept the poison, was that fear that made her harmless.
· April: Julia Gorostidi, /messages/rosa.lanara, 2016-2017
Constructed by the subjectivity of her eternal interlocutors,/messages/rosa.lanara presents Rosa Lanara (Julia Gorostidi) through some of her Facebook chat conversations with strangers.
Follow Rosa’s story Tumblr: http://rosalanara.tumblr.com/
· March: Ibai Hernandorena, Lucio, 2017
The film Lucio begins with the story of an attempt to devalue the dollar. In the 1960s in Paris, Lucio Urtubia, a forger, Basque revolutionary anarchist made a proposal to Che. This story read internally by the viewer is followed by a sequence, filmed today, of a cargo ship of thousands of tons of goods.
· February: Tali Serruya, Dogs vs. Cucumbers, 2017
Dogs vs. Cucumbers is a virtual interruption proposal inspired by Kenneth Goldsmith’s book Wasting Time on the Internet. A video per week, during four weeks, will dialogue with BAR projects website, creating an alternative reading of official contents, questioning the meanings nature for itself through a video selection that plays with culture/entertainment, production/laziness and creation/plagiarism meanings.
· January: Enea Palmeto, Ahmad sold me five carnations, 2017
Ahmad is Syrian and he is 24 years old. We talked for 3 minutes and we spoke in English. He sold me 5 carnations and I learned that in English they are called “carnations”. Ahmad is Syrian and sells carnations around Raval.
“Hoy te traigo clavelitos
Colorados igual que un fresón.
Si algún día clavelitos
No lograra poderte traer,
No te creas que ya no te quiero,
Es que no te los pude traer.”
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2016 Homepage residency artists: Fito Conesa (January-May), Jaume Ferrete Vazquez (April-September) and Claudia Pagès (October-December)
You fall / with rage by artist Claudia Pagès is an adapted virtual publication for HomePageResidency which functions both as flipbook (right side) and as visual narrative (left side).
Claudia Pagès (Barcelona, 1990. Lives and works between Barcelona and Amsterdam) is interested in playing with technologies of the body as well as addressing the ways in which bodies, the economy and love are interconnected. She creates texts that become publications or/and performances, music and objects to investigate how speech, song and the spoken word emerge from bodies within communities and at sites of labor. She have performed and shown her work at centres such as P/////AKT (Amsterdam), Rongwrong (Amsterdam), RAI10/ARTHENA FOUNDATION (Düsseldorf), La Casa Encendida (Madrid), Moderna Museet (Stockholm). She has received the Mondriaan fonds Werkbijdrage Jong Talent 2016-2017.
Jaume Ferrete Vazquez , “Voder ( voder” (fragment), 2016
“Voder ( voder” (fragment) reproduces a series of quotations from texts related to voice politics that are written on the homepage of ‘BAR project’ synchronized with synthetic voices reading the same texts. Texts on patrilineal transmission of voices, on the assignment of specific subjects unique voices on the physicality of the first speech synthesisers on synthetic voices in phone sex lines … “Voder (voder” (fragment) is an excerpt from “voder (voder” piece by Jaume Ferrete Vazquez for Generation 2016 in La Casa Encendida. the open line of work “voder (voder” continues in “Your father is talking to the voice of my father” podcast next appearance on the radio the Reina Sofia museum.
Fito Conesa, The hills are alive With the sounds of music .., a compendium of images digitally retouched where the protagonist has been deleted. In this case they correspond to large-format portraits of Kim il-Sung (grandfather), Kim Jong–il (father) and Kim Jong-un (grandchild) current leader of North Korea. The landscape takes center stage as real event container showing the bucolic, naïve and innocent stratum “background”. Format landscape paintings with an air of musical mainstream.
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2015 Homepage residency artists: Carolina Bonfim (January-March), David Bestue (April-June), Serafín Álvarez (July-September) and Luz Broto (October-December)
Luz Broto, Sin título, 2015
Collection of handwritten signs, where some kind of order is given-copied and replaced in situ. Action in process.
Serafín Álvarez, Preliminary Studies for Umbral, 2015
Preliminary study for Umbral, a project under development on virtual worlds and “other areas” in fiction used to represent the journey into the unknown and otherness.
David Bestué, 21 Objectes, 2014
Photographs with pieces from the MNAC collection (Museu Nacional d’Art de Catalunya) With other elements. Project completed with a group of teenagers who were asked to think they would do with these pieces if they did at home.
Carolina Bonfim, After and before pornography, 2015
Before or after pornography is the result of certain way of relating, it is a distorted or less grateful hole of anonymous people that are connected to a screen to exist in the world. Through these virtual “windows” the most intimate moments of the “actor” can be seen, and not just the sexual moments, but those where you can see the inside of their house, their room or even their bed in periods of absence…